System E.N. Ilyina: teaching literature as a subject that shapes a person

USING THE E.N. SYSTEM ILYIN AS MODERN PEDAGOGICAL TECHNOLOGY IN LITERATURE LESSONS

E.D. Tkachev

OBPOU "Oboyan Agrarian College"

Literature lessons occupy a special place in the educational process. Typically, educational information saturates the mind, but affects the senses to a lesser extent. Here the soul must “work,” moral truths are discovered, knowledge about the world and about oneself is obtained. A writer has an amazing opportunity - to open the world to young people, while shaping his personality.

Ilyin Evgeniy Nikolaevich - a literature teacher in St. Petersburg - developed an original concept of teaching literature as a moral and ethical course and art based on pedagogical communication, helping each student to become a Human. (“Multiply, and not just respect the person in the person”). The main method in Ilyin’s system is the method of spiritual contact, consonant with the concepts of humanity, personality, morality, and spirituality.

A literature lesson according to Ilyin is a human-forming process, this is a lesson - communication, this is art, this real life, these are new discoveries, this is the co-creation of two moralists - a writer and a teacher - in the form of a kind of performance; it is a joint activity based on creativity, spiritual equality and interpersonal communication. .[ 1 ] A teacher, according to Ilyin, is the artist of his lesson: screenwriter, director, performer, discerning critic and literary critic.

Ilyin’s experience allows us to structure lessons as communication, within which a communicative exchange of thoughts and reflection takes place, and the participant’s attitude towards his own actions is established. Building a lesson - communication is not always easy, but it is very necessary and important. The intertextual approach is of great importance for the philologist - searching and establishing connections between the analyzed work and other texts.

Having become acquainted with Ilyin’s system, I became interested in its basic principles and consider it necessary to use its elements in the pedagogical practice of a literature teacher. In accordance with Ilyin's ideas, I try to develop my lessons.

Methodological systemIlyina differs from the traditional system. The main goal of teaching literature is its educational function, and only then its cognitive function. Having abandoned passive methods, the teacher uses a variety of techniques to encourage students to actively search for their truth, their own views and assessments of the problems being discussed. It is important to use techniques designed for the emotional impact of literary works. In my article, I will briefly talk about the main provisions of this pedagogical technology and how in practice I try to implement in my lessons in 1st and 2nd year groups the elements of this original concept of teaching literature as a moral and ethical course that shapes Man.

The most important things for Ilyin in the lesson wereproblem, question and detail.

Each work of art studied in a literature course contains manymoral problems , which rise in it directly or hidden. The core of the lesson is the question- problem , which must be staged so that it is burning, topical and personally significant; so that this question is addressed not immediately to everyone, but specifically to a specific person. The answer to this question and the resolution of the problem contained in the question should require a detailed study of the work, textbook articles and additional literature, familiarity with the history of the work being studied and the biography of the author. The main thing is not memorizing and understanding the facts, but experiencing the problems described in the work, compassion for the hero and the desire to be in his place. It turns out that the lesson is devoted not to a formal topic, but to a problem that can arouse the interest of students. The point of the lesson is to understand this problem and discuss possible ways to solve it. The answer to the problems posed is organized in the form of a collective search, a relaxed discussion, which is organized and supported by the teacher.

For example, in class we pose the problem: “Is moral health possible without physical health?” or “Why does a person become a traitor and is there a justification for this?” while studying V. Bykov’s story “Sotnikov”. We analyze the images of the partisans Rybak and Sotnikov, we see that the hardy and strong Rybak becomes a traitor, and the weak and sick Sotnikov is faithful to his duty and prefers execution. The desire to live according to conscience turns out to be stronger than the instinct of self-preservation. Another problem logically follows: “Is it possible to live in peace after becoming a traitor to the Motherland?”

The problem of confrontation between man and the state is reflected in the work and life of such authors as A. Solzhenitsyn (“One Day in the Life of Ivan Denisovich” and “The Gulag Archipelago”), V. Grossman (“Life and Fate”), V. Shalamov (Kolyma Prose), I. Brodsky (autobiography). How differently Is it refracted in the destinies and creativity of writers? This problem was one of the most important in the 20th century, and we formulate it when studying relevant topics in the literature of the 20th century.

The next problem can be formulated using the words of E. Bazarov from Turgenev’s novel “Fathers and Sons”: “Is nature a temple or a workshop?” We think about man’s position in relation to nature, we logically approach how V.P. Astafiev views this in the narration in the stories “The Tsar is a Fish.” Problematic question“What makes Ignatyich let go of the king - the fish?” forces us to re-read and analyze the episodes.

When studying literature, the development formula is as follows: from personal experience to the analysis of a work of art and from it to a book. To create problematic situations, a method is used to introduce the student into the structure of the material through a detail, a question and a problem. The answer to the problems posed is organized in the form of a collective search.

Particular attention is paid questions and student responses. They express search, dispute, doubt, objection, desire to have your own point of view. Curiosity develops. the student is drawn to literature.

Question should introduce the student to the problem posed by the author. The question must be personally significant for the student. Finding an answer to a question implies the beginning of a dialogue, a discussion that is initiated and led by the teacher. There are only three participants in the dialogue: the teacher, students and the author. Students comprehend and emotionally experience the author's text.

For example, when studying L. N. Tolstoy’s novel “War and Peace,” the key question for one of the topics is the words of the poet N. Zabolotsky: “What is beauty and why do people deify it? Is she a vessel in which there is emptiness, or a fire flickering from the vessel? From this angle we begin to analyze the images of Natasha, Helen, Marya.

We begin to study A.P. Chekhov’s story “Student” with the question: “What can change a person’s mood if outwardly nothing changes?” We are looking for the answer in the text, we are finding out why the sexton’s son, Ivan Velikopolsky, who goes home on Easter when it is cold around him, he is hungry and his soul is not well, suddenly changes after a conversation with two women in the widow’s gardens. What turned everything upside down in his soul? Students share their opinions. This leads to the problem: “Is Orthodoxy the light of the soul and a strict duty?” This story confirms the first judgment. Orthodoxy helps us live in the most difficult and unsightly situations, gives us moral strength, light and joy, a sense of the meaning of life.

Here we can move on to intercontextuality: how do other authors address this problem? Do they have the same vision of this issue as Chekhov? It turns out that both F. Dostoevsky and I. Shmelev are in tune with Chekhov. Here you can approach personal observations and examples. We do not just analyze the story, and it is work in this vein that helps students come to life, understand the significance of this problem, establish communication, and search.

The question “How did the terrible 20th century roll its heavy wheel through the destinies of Russian writers and poets?” When studying the work of Akhmatova, M. Tsvetaeva, O. Mandelstam, M. Bulgakov, A. Platonov, we highlight them as key in the study of their work.

We must strive to ensure that the core of the lesson is a question containing a problem that is personally significant for young people. This problem can be resolved only by analyzing the works, moreover, deeply, and not on the surface. A good question, according to Ilyin, evokes subconscious associations, stimulates creative imagination, and develops behavioral reactions in students. In polylogue lessons, any inertia of thinking is destroyed.

Question: “Woman and war: are they compatible or not?” We analyze “And the dawns here are quiet...” by B. Vasiliev, a work about the fate of girls - anti-aircraft gunners, who stopped the German landing at the cost of their lives; “Apple Savior” by E. Nosov is about the fate of the former sniper Baba Puli, who felt “sticky and dreary in her soul” after every killed German. We connect all this with the new film “The Battle of Stalingrad” about the sniper Pavlichenko, the poem by R. Rozhdestvensky “The Ballad of Anti-Aircraft Gunners.” We draw a conclusion with the words from the title of the book by S. Alekseevich - “War does not have a woman’s face.”

Studying the work of the Kursk writer E. Nosov, we begin with the question: “Is it possible to talk about the war without describing military actions?” Analyzing, we come to the conclusion that this is exactly what Nosov does in the works “Usvyatsky Helmet Bearers”, “Red Wine of Victory”, “Chopin, Sonata Number Two”, “Apple Spas”.

E. N. Ilyin considered the pearl of the text detail : “Unraveling everything with one knot and putting it all back together into a knot - isn’t it tempting? Problematicism, integrity, imagery - everything is in this knot.” Starting with little things from details , the teacher reasons, searches, argues, makes mistakes, corrects himself and reaches large generalizations. From details - through search - to generalizations. The search started in class continues outside of class. For each work I study, I try to identify problems, prepare questions with which search and reflection begin, as well as details that lead us to the discovery of new facets. For example, I focus students’ attention on such a detail - Shukhov is hiding a trowel for the next day. What does this tell us? He is a true master, a master, and the joy of a job well done helps him in the camp. Here the question arises: What prevents Ivan Denisovich Shukhov from breaking down in the camp? We begin to look for answers in the episodes, bit by bit recreating the image of the main character.

The question helps us understand the historical background of the work: “Why does Alyoshka, a Baptist, say to Shukhov: “Be glad that you are in prison!” What different answers can be given to this question!

We smoothly move on to literary generalizations: the image of a master of his craft in the literature of the 20th century. We recall V. Shukshin’s story “The Master” about Semka Lynx and his dream to restore the church.

The detail can be a small fragment from the work, a fact from the author’s biography. Detail is used to make students want to talk and learn more. For example, we find out which authors’ works about the Second World War are built around the Battle of Stalingrad and from what angle each of the authors views it. When analyzing the works of V. P. Nekrasov “In the Trenches of Stalingrad”, K. M. Simonov “Soldiers are Not Born”, V. G. Grossman “Life and Fate”.

With the help of details, you can build logical chains, choose supporting words, and this is how the author’s idea is comprehended. The detail is born as a result of text searches. Unwinding, she can give the lesson a plot, a concept, and unexpectedly and brightly turns the lesson towards the children.

Studying the work of the Kursk writer K.D. Vorobyov, we dwell on such a detail as captivity. What significance did he play in the writer’s fate? How was it reflected in his work? Studying his biography, we learn that he was captured, escaped twice and considered it his duty to talk about the horrors of captivity.

Let’s move on to the history of writing the story “This is us, Lord!”, the manuscript of which was found in the editorial office and published after the death of the writer. Analyzing the episodes of the story, we say that the terrible deeds of fascism should not be repeated again.

Another detail is the graveyard (cemetery). What does it mean to people? We express our opinions, life observations and move on to the question: “Why are the old people so concerned about the destruction of the cemetery in V. Rasputin’s story “Farewell to Matera”? Through detail we approach the analysis of the episodes of the story. This is the memory of ancestors, the connection between generations, something that is now becoming thinner. Without the memory of ancestors and continuity of generations, we become Ivans who do not remember kinship.

Using Ilyin’s system in our practice, we help students understand that literature with its wisdom and spirituality is not the distant past, but the most relevant modernity, that it is the keeper of enduring spiritual values ​​and gives scope not only to the work of the mind, but also the soul.

Literature lesson under constructionaccording to the laws of art(and this is artistic analysis work of art),according to the “Three O” law:to enchant with a book, to be inspired by a hero, to be enchanted by a writer. This is a kind of one-act performance with several phenomena. This is a joint creative activity, a polylogue, the result of which is the spiritual enrichment of both parties. This is the path to self-knowledge.

Herself teacher personalityhas a huge impact on the formation of the personality of students and the development of their moral qualities. The pedagogy of a literature student is realized through words and feelings.Personal approach formulaformulated by Ilyin as follows: “Love, understand, accept, sympathize and help.” This technology presupposes democracy: communication with the student is built as a person, spiritually equal to the teacher. The work and life of a literature teacher cannot be dissected. The art of a teacher is to guide a child on the path of creativity. Students “come to life” when the teacher searches for the truth with them.

According to Ilyin, a teacher must be able to read a student and know no less about him than about heroes and writers. It is important to influence the student with practical experience of literature. The teacher must see his own “I” in the student. we must give him the right to choose his own path, his own pace of development. It is necessary to create a lesson structure where they not only learn, but also communicate and thereby increase the desire to learn, since it containsincentive to communicate. The initiative method helps in choosing the topics of lessons, essays and debates.

Ilyin is guided by the goal of helping students believe in themselves and awakening the best personality traits in them. Communication with a book, with literature, should call to life, to the knowledge of its laws. Therefore, the compatibility of educational knowledge and our modern life experience is very important.

Literature lessons according to Ilyin’s method are lessons - discoveries, in which students discover not only the word of the writer, the features of the work, the hero, they simultaneously discover themselves, their abilities, reveal their self. The teacher learns again together with the students, is enriched by their discoveries .

The main thing in a literature lesson is to connect a person with life with the help of a book, to make friends with another person, to reconcile him with himself. Respect the person in a person and increase this quality. Help yourself and others become human. A literature lesson is like an ambulance, but for the soul.

Bibliography

1. G. K. Selevko. Modern educational technologies, Moscow: “Public Education”, 1998.
2. E. N. Ilyin. “The Path to the Student”, Moscow, 1988.
3. E. N. Ilyin “Hero of our lesson”, Moscow, 1991.

To multiply, and not just to respect the person in the person.

E.N. Ilyin

Ilyin Evgeniy Nikolaevich(b. 1929) – literature teacher of the 84th school in St. Petersburg. Created an original concept of teaching literature as an art and a moral and ethical course that helps every student become a Human Being.

Classification parameters of the E.N. system Ilyina

Level and nature of application: in terms of content - specific subject, in terms of meaning - general pedagogical.

Philosophical basis: humanistic.

Methodological approach: sociocultural, situational, communicative.

Leading development factors: sociogenic + psychogenic.

Scientific concept of mastering experience: associative-reflex with elements of suggestion.

Focus on personal spheres and structures: emotional sphere (SEN).

Nature of content: teaching + educational, secular, humanistic, general education.

Type of social and pedagogical activity: socialization.

Type of management of the educational process: small group system.

Organizational forms: traditional class-lesson, group with elements of an individual approach.

Predominant means: verbal + practical.

Approach to the child and the nature of educational interactions: personality-oriented.

Predominant methods: explanatory and illustrative with elements of dialogue, problem-solving, and creativity.

Modernization direction: humanization and democratization of pedagogical relations.

Target orientations

¶ Moral and emotional education of the individual, during which the necessary training is carried out.

¶ Teaching literature as art.

Conceptual positions

v Mastering the fundamentals of science, which constitute the main content of educational subjects, creates the opportunity for students to develop a scientific worldview, views and beliefs necessary for modern man.

v Principle of humanization: The moral potential of books gives rise to a special system of humanistic knowledge - beliefs.

v Artistry: « about art - the language of art"; A literature lesson is built according to the laws of art (artistic analysis of a work of art), the law of three: to enchant with a book, to be inspired by a hero, to be enchanted by a writer.

v Principle of educational education: education is not a dominant absolute, but an integral part of the educational program; analysis literary work should grow into an ethical problem.

v In the process of educational activities, schoolchildren can develop moral foundations and the most important personality qualities, such as patriotism, the need for continuous self-education and self-development, emotional sensitivity, aesthetic tastes, respect and readiness to work.

v Go to the guys not only with the topic of the lesson, but with a burning problem.

v Knowledge through communication and communication through knowledge is a two-pronged process of moral development.

v The very personality of the teachers, class teachers, school leaders, their moral character, ideological conviction and pedagogical skill can have the greatest impact on the formation of the personality of students, on nurturing in them the best qualities of citizens of their homeland.

v Pedagogy of expression: "word + feeling".

v Personal approach formula: love + understand + accept + sympathize + help.

v Method of spiritual contact .

v Democracy: communication with the student as a person spiritually equal to the teacher.

v Teacher - subject specialist, artist, doctor, the creator of the most subtle - the spiritual culture of a child.

v The work and life of a language teacher cannot be separated.

Content Features

Each work of art, the study of which is included in the school literature course, contains many moral problems that are posed in one way or another. Ilyin poses the question-problem, which serves as the core of the lesson, so that:

a) the question was burning, topical, and 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;

c) the answer to it, the resolution of the problem contained in the question, required a thorough study of the work, the textbook and additional literature, familiarization with the history of the work being studied and the biography of the author.

Features of the technique

In teaching a subject, the development formula looks like this: from experience Personalities - To Analysis a work of art and from it - to Book .

Features of Ilyin’s method of teaching literature are attention to detail. This kind of deductive method of literature research proves to be extremely heuristic for students, activating their own search and understanding.

The method of introducing the student into the structure of the material through “detail” - “question” - “problem” is universal and can be used by all teachers to create problem situations. The answer to the problems posed is organized in the form of a collective search, relaxed discussion, discussion, organized and initiated by the teacher.

Lesson literature is:

– human-forming process; lesson - communication , not just a job, it's art , and not just a training session, life , not the hours in the schedule;

- a kind of one-act play with several phenomena, the co-creation of two moralists - a writer and a teacher;

– openings , not arguments and facts;

– joint activities teacher and student on a creative basis, spiritual equality and interpersonal communication.

Life. Every schoolchild studies in two programs. One of them is offered by the school, and the other, usually more real, is offered by a roommate, friends in the yard, sometimes one’s own father, who has lost his way. The teacher needs to take both of these programs into account.

The “second program” is influenced in every lesson: here there are essays about your friends, family and loved ones, and individual influence on the individual with vivid examples from literature, and original home “moral assignments”, heart-to-heart conversations in class and outside of class and much more.

The main goal of the lesson is: help a teenager believe in himself, awaken the best personality traits in him, bring him to the heights of humanism and citizenship .

1. Ivanikhin V.V. Why does everyone read Ilyin’s books? - M., 1990.

2. Ilyin E.N. Let's educate the reader. (Advice for parents). - St. Petersburg, 1995.

3. Ilyin E.N. The hero of our lesson. - M.: Pedagogy, 1991.

4. Ilyin E.N. Business man and book. - St. Petersburg, 1995.

5. Ilyin E.N. From a vocabulary notebook. – St. Petersburg, 1993.

6. Ilyin E.N. The art of communication. - M., 1982.

7. Ilyin E.N. How to pass the literature exam. – M.: Shkola-Press, 1994.

8. Ilyin E.N. How to get carried away by a book. (Teacher to teacher). - St. Petersburg, 1995.

9. Ilyin E.N. Leo Tolstoy in the mirror of “War and Peace”: A manual for teachers and students. – M.: Shkola-Press, 2000.

10. Ilyin E.N. Days gone by results... - L.: Lenizdat, 1991.

11. Ilyin E.N. My keys...: About the art of artistic detail. – St. Petersburg, 1999.

12. Ilyin E.N. The path to the student. - M.: Education, 1988.

13. Ilyin E.N. The birth of a lesson. - M., 1986.

14. Ilyin E.N. Sholokhov's novel "Virgin Soil Upturned". - M., 1985.

15. Ilyin E.N. Practical literacy lessons: Notes from a literature teacher. – St. Petersburg, 1997.

16. Ilyin E.N. The lesson continues. - M., 1973.

17. Ilyin E.N. Steps forward. - M., 1986.

4.4. Vitagen education technology (A.S. Belkin)

To live is to learn.

Learning means living.

Seneca

Belkin August Solomonovich(r. ……) – Academician of the APSN and MAPO, Honored Scientist, Doctor of Pedagogical Sciences.

Vitagen training– training based on the actualization (demand) of a person’s life experience, his intellectual and psychological potential for educational purposes. In this case, two concepts are distinguished.

Life experience– vital information not lived by a person, associated only with his awareness of certain aspects of life and activity, but not of sufficient value for him. Unfortunately, it is at this information level that the learning process takes place in most educational technologies. This is what is called ZUNs in training.

Life experience – vital information that has become the property of the individual, deposited in the reserves of long-term memory and is in a state of constant readiness for updating in adequate situations. This is what in modern pedagogy is called competencies.

E. N. Ilyin - literature teacher of the 307th, then 516th secondary school of Leningrad - St. Petersburg, a famous methodologist. The new things 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.

What is unique about E. N. Ilyin’s technique?

The system for presenting new material on literature had a traditional scheme: 1) the biography of the writer, poet is presented; 2) his work is studied and analyzed in large sections, for example, lyrics, civic poetry, fairy tales, historical stories by A.S. Pushkin or other writers, poets; 3) general ideas are illustrated with excerpts from the writer’s works, quotes 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” (broadcasts) the material, and the student “takes” it, if there is a desire to “take”. Very often the student has no interest in reading the work. Not all students read program literature. At E.N. Everyone reads Ilyin! The negative side of the traditional study of literature: the cognitive task comes first, and only then the educational task. In the methodological system of E.N. Ilyin has a number of findings in the construction of the study of the topic, presented “in reverse”, in contrast to the traditional one. An innovative teacher sees the main goal of teaching literature in its educational function, and only then in its cognitive function. “It is possible to fully intensify knowledge in a public school only on an educational basis.” Having abandoned passive teaching methods (“Memorize as the textbook says!”), he uses a variety of techniques to encourage students to actively search for “their truth,” their own views and assessments of the problems being discussed. Techniques designed for the emotional impact of literary and poetic works per student. “To what extent the work of the mind becomes the work of the soul—that is the criterion of a literature lesson.”
E. N. Ilyin considers the detail to be the pearl of the text. “Unraveling everything with one knot and putting it all back into a knot—isn’t it tempting? Problematicism, integrity, imagery - everything, everything is in this knot""1. Starting with “trifles” and “details”, the teacher reasons, searches, argues, makes mistakes, corrects and reaches large generalizations: from detail -> through search -> to generalizations. The search that began in class continues outside of class, and creative and sometimes playful tasks appear.
Particular attention is paid to remarks and questions from students during the lesson. They express search, dispute, doubt, objection, desire to have your own point of view. Curiosity develops, the student is drawn to literature. And the teacher not only teaches, but also learns from the students.
E. N. Ilyin attaches importance to pedagogical technology. He considers the artistry of a teacher to be the highest teaching tool. A literature lesson is an art, and the teacher is the artist of his lesson: he is a screenwriter, a director, a performer, a discerning critic, and a literary critic. If this is not the case, says E.N. Ilyin, then the teacher deals with the notorious “gallery of images”, “figures, characters, where the academician of literature unexpectedly finds himself as one of the “typical representatives” of inanimate, invisible literature.”
The importance of communication between teachers and students in educational work is great, says E. N. Ilyin. It is necessary to build a new type of relationship between teacher and student, which is based on “goodwill, wise simplicity, mutual contact and interest”5.

Why the teacher's method will be interesting for the ordinary teacher

We talked about the experience of an innovative literature teacher. But what about E.N. Will a teacher of other subjects take Ilyin? Anticipating such a question, in one of his books he himself answered that his experience should be of interest not only to literary scholars and not only to teachers, because it has been verified by many years of practice and a high, stable final result. Of course, a teacher of any subject will take the educational function of the lesson, which ensures the success of the teacher’s work, the technique as the unit of the lesson, the 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.

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

I actually managed, not thanks to, but contrary to traditions, to solve one of the key problems of pedagogy - to educate the mass reader (even though nowadays they don’t like this word) reader. And in connection with this, or rather, on this basis, decide everything else.
The components of success have now been clearly identified. There are four of them: position, method, teacher, lesson. This is a strategy for educating the reader.

ABOUT THE POSITION
Analysis of a literary work must grow into an ethical problem
(1982)
Teaching and educating is like a “zipper” on a jacket: both sides are fastened simultaneously and tightly with a leisurely (!) movement of the lock - creative thought. What should this “connecting” thought be?
Today the book calls many people into literature; for me, perhaps, more into life. “I want to understand human affairs...” A remark from Gorky’s Luka is in some way the “key” to a literature lesson... These “affairs” make a vocabulary book necessary and interesting for children. Knowledge solely around the book and only on its basis no longer resonates with a huge number of children. A book will lead a book to a dead end if its vital support falls out.
The meaning of a teacher's life is the student! It determines our position and 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. A school book, I am convinced, is first and foremost a moral theme, and not a piece of theory and history of literature.
By the way, I like to build a lesson from two halves: life and a book. One is the reason and basis to enter into the depths of the other. The halves change places: I often start with a book. This structure gives room for different creative styles. Someone, let’s say, loves fully and knows how to reveal himself in his first half, and then, obviously, you need to start with her; and some - in the second. Personally, I am equally successful 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. I call this technique open ethics.
The lesson reaches its highest peak at the moment when the moral consciousness of the student, his mood, and tone are among the main concerns of the teacher. When a wordsmith educates and teaches, and not vice versa. When one moves from “connections”, “syntheses” of the cognitive with the moral to the 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 clean.” For what? They began to find out. Here, obviously, Gorky’s attitude towards the book, to which - even mentally! – You must touch with clean hands. Maybe. Well, now let’s check how we, educated people, relate to books. In class? Certainly. Some people will probably regret bringing their volume this time. And again - to Gorky. How did the son react to his mother’s question? He said that he reads books for which... No. First he invited her to sit down. It’s a pity that sometimes we don’t catch such “little things” either in books or in life!
True morality lives and manifests itself in small things. You need to be able to see them.
K (book) + U (student) = R (reader)
(1995)
Even in those years, “when I had not yet drunk tears from the cup of existence,” when I was just beginning to teach, I understood one very important truth: there is not and cannot be an absolutely prosperous fate. Either with your right or left hand you look for support. And there are only two of them: a loved one and a book. It’s good if they both support it at once. But often the one you rely on needs even more support. It remains... No, we don’t need a book for culture, but to survive, to survive. It becomes a culture later, when its “shoulder” is fully noticeable and appreciated.
So, when I came to school, I was not afraid to add the book to the everyday anxieties and worries of the children, to endow it with an applied (!), pragmatic (!), preventive (!) function. PR – PRA – PRO (allow me this pun) made her truly desirable and necessary.
If we are not reflected with her, she will not be reflected in us. This means that Natasha Rostova and Natasha Petrova, figuratively speaking, will be seated at the same desk. They will object: does another Natasha Petrova have the right to sit next to Tolstoy? It has! And this one, and that one, and the other one. We frightened ourselves and the boys so much with “cultural values” that we involuntarily began to forget and lose our value. Yes, Tolstoy is great, yes, it is HIM, but we are also WE. Otherwise it won't exist either. To put a “plus” between two values ​​is first and foremost to find in the book a student with all his problems.
The book lives in all times, but “works” in today. Only by becoming an object of Man does a book become an object of Art. Therefore, the main bookmark (another interpretation of the plus) is not in the book itself, but between the book and life, the book and the person. In the “educational-educational” connection, I focus on the last word: to study literature is to educate with it.
The educational approach really saves the book, because psychologically it requires an undestroyed, undivided whole. A book is a spiritual activity. Working with it cannot be entirely transferred to the element of the analytical mind, ignoring the “heart sphere”.

ABOUT THE METHOD
About art - the language of art (1995)
In literature, I am convinced, there are more “writers” than “scientists”. When this is so and when schoolchildren guess this, the eternal problem - to read or not to read - goes away by itself, because mentally the book has already been opened. It aroused double interest: on the one hand, in the art of the writer, and on the other, in the teacher, who, having come into contact with this art, not only did not destroy it, but seemed to merge with it and even enhance it.
Not only Pushkin's Hermann, but also the wordsmith has his own three win-win cards: detail - question - technique.
DETAIL.
In the formula K + Y = H, the function of an integrating plus is superbly performed by an artistic detail. Sometimes one stroke is enough to make the whole (!) book and everyone (!) who is in the lesson speak. This approach truly reveals Art: one half-torn button can sometimes recreate an entire character. Pechorin’s “non-laughing” eyes, Kabanikha’s repeatedly repeated “well,” Bazarov’s thin ironic lips, Prince Vasily’s “flat” face are touches that can not only open a page, but also open a book.
The whole frightens and repels, but its part attracts and leads. Maybe we can leave her? A detail, as a student once put it, is a detail with strings. Little things - close-up! - this is the secret of analysis. When the light of the big dawns in the small, interest appears in both, and in general, in their connection. Problematicism, integrity, imagery - everything, everything is in an artistic detail, a kind of knot in the text. In any fabric, a knot is a defect, in art it is a discovery, a find, thanks to which the children learn to read a book analytically. At the same time, I tell them: if you grab onto the detail that the teacher gave, you will certainly find yours. I can and do say with confidence: there is no such student and such a book that would not be connected by a great “trifle” - an artistic detail.
QUESTION.
My question is a special one: mostly unanswerable, moral. I ask it as if to myself in the hope of solving it together with the class. What could be more exciting than a question asked to yourself, and more significant when it worries everyone! Are these not the questions the writer poses to us?
The questions I ask the class have an immediate and long-lasting effect. Sometimes they sound journalistic, confessional and require instant decisions from the guys: let them react, think about it - that’s enough. In one question there is a whole range of similar meanings and pathos:
– Tell me why the 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 the powerless desire to “save” their spiritually broken Gogols? Why? Who will explain to me this more than strange pattern?
Students are especially active when they don’t have to think. Well, we’ll try to ask them questions that will make the hand not immediately throw up in arrogant confidence, but thoughtfully and leisurely begin to draw something... This is, in fact, where the reader begins.
CREATIVE RECEPTION.
Neither art nor pedagogy can do without it. With this specific “tool” I was able to immerse the entire class in the book at once. This is how I once formulated the topic of a lesson: who, in my opinion, has more “woman” in her – Natasha, Marya, Lisa, Helen, Sonya, Vera (based on the novel “War and Peace”)? In my (!) opinion (!) women (!) So the epic has been read from the perspective of modernity. Everything and everyone. “Two kilograms of text!” – as one student put it. And also - from a modern perspective. But the notorious “female characters in the novel,” as far as I remember, are not open to the whole mass of children in the novel.
One’s own, in one’s own way, for everyone – this is the basis of the creative technique. Unlike the stencil and the standard, it gives many paths to the book. This means there are just as many ways to enter it and stay in it.

At first glance, Ilyin handles the work “freely” because he knows it perfectly, as if he wrote what he is talking about. In any case, he was “present” at the birth of the masterpiece or knew its creator very, very closely. 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 extremely activates those with whom it works. V. Ivanikhin Ilyin enjoys every transition in the conversation, every nuance in the topic. The completeness of communication, the relaxedness 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 scatteredness, Ilyin does not select the main topics of conversation. Because he loves this kind of 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 interesting than the follower (1982)
“The leader, no matter who he is, is always more correct and interesting than the follower!” – our common credo. It is impossible to form a collective of individuals only on the spiritual basis of the teacher. With its help and on the basis of all, personality arises and develops. That’s why I set my ultimate and highest goal not to show myself, but to look at the guys and see the collective “I” in everyone. I don’t mold the student into my likeness, but I allow him to grow from himself and from everyone else as a person. However, I often obscure the student with myself. 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 guys understand who is shielding them and for what purpose. The dialectic of equality with unequals in this.
Let's think: if a student is only able to follow 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 situation. 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 so as not to follow ourselves. No, first - myself! Myself!
It is important not just to reach out to the student or bring him to this or that problem, but to bring him to the very forefront and decisive plan of the lesson. In monologues and lectures, it is easy for an immature, unerudite wordsmith to “hide” from the guys; conversation requires culture, knowledge, skill. This is the genre of the lesson when the teacher is all about the children, trying to “pull” out of them themselves – talented, initiative ones.

Teacher is the creator of the most subtle - spiritual - culture (1989)
Once I gave the guys an essay “The Teacher They Are Waiting for...”. So what? Who are the schoolchildren waiting for? Smart - yes, erudite - of course; able - certainly. But everyone’s first priority was: interesting! Original! With invention! So that at the same time you want to write down something very important behind him and at the same time look, look at him: at a very entertaining and complex play on words, gestures, intonations, facial expressions, postures and pauses. Only in an art lesson and by means of art can you convince children that a literature lesson is necessary and interesting, and yourself - in the opportunity to be the artist of your lesson: a screenwriter, director, performer, a discerning critic who knows his strengths and weaknesses, a literary critic who can scientifically explain his and childish interest in the book. The teacher is not only a conductor of knowledge, he is the creator of culture, and the most subtle and spiritual one at that. Like in the theater, he needs a friendly emotional response from those with whom he communicates - the guys. But the book needs a teacher who has mastered artistry as a methodological tool. Only on this foundation will a wordsmith turn his craft into mastery.

Expert – artist – doctor (1995)
To be captivated by a book is to be captivated by oneself. Your students, they once reproached me, go not to Pushkin, Tolstoy and Chekhov, but to you. But let them come to me first, and then we’ll go further together. So it turns out: you first need to arouse interest in yourself, and not in the subject.
My working formula for a teacher’s personality is: expert – artist – doctor. The absence of one of the components automatically neutralizes, and often completely eliminates, the other two.
CONFIDENT.
Why not a subject teacher, they ask me? I answer. The latter is often a rather vague, amorphous figure who knows everything. Except for the book, which the overly broad information prevented him from coming into contact with. A connoisseur is formed differently - through repeated (and many years!) re-reading of the book with which he goes to his students, every time in more and more depth. A certain illusion of co-authorship with the writer arises, such is the extensive knowledge of the book itself, its nuances, right up to the desire (scary to say!) to correct something, adjust something in it. The subject specialist, unfortunately, does not succeed in this, because often he has nothing to say except common truths that wander from one manual to another. Ask any of us, experienced or beginner, what is he worried about, what worries him, what is he afraid of? FEAR! It’s as if from year to year, from lesson to lesson, it gives less and less knowledge, it doesn’t fit in and doesn’t fit in. The connoisseur is free from this, because, firstly, he knows what he needs (!) to know; secondly, he knows in what way and with what skills to realize (!) this knowledge.
A knowledgeable teacher grows in the lesson itself. I usually start it by putting a notepad and 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” yourself with the knowledge that “fixed improvisation” generously gives us (that’s how I would define this type of work). In addition, let students see not just something explaining, interpreting, but also a teacher working on himself.
Sometimes I ask:
– Did you like the lesson?
- Yes!
- But I’m not very good. 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 about a character, as about an event in my life as a teacher.
ARTIST.
If the method of working with a book is about art - in the language of art, then how can a teacher not be an artist? Don’t you know that the knowledgeable and experienced are absorbed, and the bright, inventive are absorbed?! They don’t just give, inform, but present knowledge; they don’t come, but show up to the lesson, preparing for it, preparing themselves. “Getting” yourself at the right moment, “outplaying” fatigue, bad mood, weather illness, tightening, tightening, like a string, as V. Vysotsky put it, your “weakened nerve” in order to sound at the top of your voice is one of the main creative skills teacher-artist.
Artistry is not a whim, not the originality of someone’s individual manner, but the most important teaching tool, without which neither a book nor a lesson will work. The artist knows how and loves to speak with pauses, gestures, facial expressions - that expression that scholasticism neglected. What impresses is what inspires! An artist understands this better than anyone. Just like the fact that first you need to “conquer”, and only then “direct”: teach, develop, educate. He gives the lesson the main thing: attention. If it happens, we’ll save the “inveterate” one,” but if it doesn’t, we’ll lose the good one.
DOCTOR.
To tune in to your wavelength, it is not enough to just be an artist, you also need to be a doctor. He will remind you once again and in his own way that we are not working with a class, an audience, an auditorium, but first of all with a person. So, try everything on him: topic, question, method, task... Don’t put pressure on deadlines, don’t scare with volume, don’t bend your heads to your desks with ominous frontal surveys, and in general, in a human way (I almost said in a medical way), be more humane, kinder. After all, to be captivated by a book is to study it without reproaches, threats, or edifications. And even without grades, which, at least in the first steps, are wiser 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 a doctor’s perspective is forty-five minutes of a healthy lifestyle! The doctor understands that it is impossible to pester a student literally every lesson without the risk of injuring someone, making them nervous and emotionally exhausted. Learning activity, by the way, is more a problem of energy than of methodology, in other words, of health. Tired people don't read books.
If a wordsmith gives a lesson an artistic word, then a connoisseur gives a weighty one; artist - visible; and the doctor is a gentle, humane person.
Or: expert - reports; artist - presents; the doctor advises. It can be summarized in another way: the first gives a listener, the second gives a viewer, and the third gives the opportunity to be both in every lesson and throughout all eleven school years.

The director informed the class: “By the way, Ilyin himself will teach your literature…” Followed by a deep pause. And it achieved effect. In the 307th they went “to Ilyin”, as in the BDT to Basilashvili. The excited collective imagination painted a portrait of the future enlightener: gigantic height, wild hair, thunderous voice... The appearance, of course, is romantic, but still somewhat pirate-like. He did not enter, but somehow ended up in the classroom. Ordinary, non-pedagogical design. Suddenly he said: “Let’s start.” The surprise from the first lesson remained forever. 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 another, from the sudden strength of an instant connection between souls... V. Mazo, graduate of school 307

ABOUT THE LESSON
The Intriguing End of Lesson Ellipsis (1982)
If the lesson is the beginning of everything (!) and the end of everything (!), homework is a minimum. Leave those that promise discoveries, controversial decisions, excite novelty, for the sake of which it is interesting and joyful to strain the mind. The task is not attached to the lesson, but organically follows from it. Figuratively speaking, together with the guys I “dig” the book and give the “shovel” to them. The part of the lesson, perhaps the most interesting, but unrealized, is the task. Again, there is no need to ask - they take it themselves. Only a few guess the scope of the work and its special difficulty - creative. But such difficulty does not frighten me. Not only the teacher, but the whole class will judge the sayings. Everyone will read their answer out loud. The “survey” will take the form of a kind of tournament, where the guys will show skill, followed by knowledge. They are given the right to start new lesson, and not repeat the previous one. This is probably why their interest in the lesson, and in general, in themselves, is so great.

To each his own lesson! (1989)
When communicating with the guys, I try to understand the moral orientation of each of them and arrange an unexpected meeting with their literary “double.” How many students are in the class, there are so many opportunities for a unique lesson, like the student himself. I give each of the thirty (they don’t know about it) a personal lesson aimed only at them. Sometimes two, three - depending on the degree and nature of pedagogical assistance. Usually, not the whole book is involved in the analysis, but only some chapters, pages - we work with the class, and 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 one (!). 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 building a lesson for one person, seeing everyone and the entire 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 in collaboration with a student (1989)
It is not uncommon today to see a book written by two or even three authors. What about a literature lesson? Why does one teacher have to pull it out? Like a writer and screenwriter, should we collaborate with one of our students? Having learned to work on an equal basis with the teacher, the children will cooperate with each other in the same way: write homework essays in co-authorship, prepare reports, reviews of literary novelties, lectures, debates, etc. The desire to complement and enrich each other creatively gives rise to co-authorship. This also applies to the teacher.
For example, I don’t like and don’t know how to do reviews, inform about things in which there are no and cannot be discoveries, or tell biographies. But there are students who are clearly superior to me here. Knowing them and my capabilities, I gladly co-author, often entrusting the student with the largest and best part of the lesson. The thematic plan, which had been neglected for many years, became organically necessary both as a kind of schedule for the whole system and sequence of co-authored lessons, and as a kind of report card for recording one’s own and students’ skills, their rational use and improvement. Finally, and as a panorama of what each of us has to mutually enrich over the many weeks and months of working together.
In every class there is a student who can lead others. Finding him and following him is the wisdom of the teacher. In the joy of co-creation, a sense of shared responsibility towards literature, the lesson, and the school is born.

Lesson method - communication (1995)
School is a world where it is impossible to live without human sympathy, mutual understanding, spiritual equality and contact. 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. This is where the locks of diplomats, bags, briefcases click, the pages rustle... And the conversation about the book will begin at the level of those human minutes that are born of the meeting. This is how my lesson method gradually developed – COMMUNICATION. No, this is not a game of good relationships, but a way to unchain a student so that he learns to his full potential, easily and joyfully, reads not only for himself, but to communicate, surprise and delight with guesses, assumptions, discoveries...
Usually one of us piles on the student, not giving him a moment's rest; others - on themselves, exhausted at work. Communication eliminates both, giving rise to a certain synthesis of common work, and therefore a common 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 is the desire to speak for himself, to listen to himself. You have to restrain your readiness, inviting the student’s initiative. Let him leave the lesson with his cheeks glowing with excitement.
Communication... Not a single head fearfully drawn into the shoulders. Here we accepted and supported what the school had struggled with for decades - the silent student. In the dynamics of a general, lively conversation, he could not and did not be inert and indifferent. And what is more convenient to speak out: in silence or in words - let him decide for himself. Phonetic and mental activity do not always coincide. Someday we will understand this and learn, if not to evaluate, then at least to appreciate silence.
Taking advantage of the relaxedness of almost domestic relationships, during the lesson I tell the children how I can do everything that excites and captivates them, and what they need so that they can do it even better than I do. Secrets from the teacher to the student! - this is how I would define this most important facet of the Communication lesson.
Let me return again to the formula k + y = h, corrected by the Lesson method. There has been, one might say, an epoch-making rearrangement of the terms: y + k = h. The primary value is no longer the book, but the student, the hero is not the best of the class, but everyone in it. By enlarging the student by rearranging the “terms,” I really opened a wide path to the book. From the standpoint of Communication, he “distributed” the 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 by a book
Birth of a lesson

QUESTIONS

In pedagogy, as in art, one often has to achieve what has already been achieved.
…You could say that it all started with this lesson. And now, when hundreds of open lessons are behind you, no, no, and there will be doubt: could you rise above what it was then, in your very first lesson. After more than one year you become your own student. But how joyful and troublesome it is to live and work with an eye on your once achieved heights.
...At that time I was a student at the Faculty of Philology of Leningrad State University. Few of us connected our fate with school. Nevertheless, we completed the internship. It fell to my lot to Railway" N. Nekrasova. And here I am in class! Thirty pairs of eyes with all shades of curiosity are looking straight at me, at the teacher, who for some reason hastily sat down to the side, at the stern, concerned face of the methodologist. Something will happen now... The first lesson is always a duel. Even the presence of “authority” does not save. I quietly laid out my notes, a plan, and some preparations on the table and began. As they taught, as they 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, who was already expressing emergency readiness with all her appearance. But university students are arrogant and proud people. Pushing aside my notes and plan, I bravely left the table to join the guys. Looking at everyone at once and at one person (compassionate!), I began to read:
Good dad! Why the charm?
Should I keep Vanya the smart one?..
- Let's stop! How does it show 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 died down and the pages rustled. It was as if the guys all at once moved towards one invisible center - the question. He was not programmed, and the class felt it. For ten minutes we collectively searched for an answer that might not have existed. 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: “Dad! Who built this road? - he asks his father. This is not just curiosity, this is gratitude! He wants to know the names of the builders...
Many years later I realized: “answers” ​​have a stronger effect on the guys than “words.” It was then that the meaning of the question was revealed to me - a fail-safe tool in the complex art of communicating with children, with a book, with oneself, finally.
He began to thank the girl from the bottom of his heart for the happy moment of the lesson. And suddenly he asked with concern: “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 intelligence and kind heart of Nekrasov Vanya were expressed in the very question to his father, in the attention to the benefits and values ​​that the past generations leave us. I started shaming the guys. For their inertia, lack of curiosity, ingratitude. “The smart one is the one who asks!” - he accidentally uttered an aphorism, and someone was already writing it down in a notebook. The methodologist, bending his hand, silently pointed to his watch and nodded to the board 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 of 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 the smart Vanya: almost the entire poem. Not me, but the guys did the lesson faster, more efficiently than I could have imagined. Listening to them, I caught my “minute”:
- ...a spectacle of death, sadness
It is a sin to disturb a child’s heart.” – Vanya’s father reproached the author. Well, maybe he’s right? Maybe the child shouldn’t be told the whole truth?
They argued like adults.
Subsequently, this temporary and temporary “departure” from the topic, unjustified by the strict standards of the methodology, seemed to me not accidental. Without it, there might have been a literature lesson, but hardly a life lesson. And maybe then he realized with all clarity 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 schoolchild resists abstract knowledge in every possible way, which will not manifest itself in any way today, nor tomorrow, neither here nor there. He resists the more persistently, more sophisticatedly, the deeper and more openly the teacher himself believes in this knowledge. The relationships that arise in this way are somewhat reminiscent of dueling fights, and not the co-creation of like-minded people.
– So what kind of “guest” did Pushkin write? What is it made of? From the material that you, Vera, will have to deal with all your life... Well? Why are you silent? Thoughtfulness is not your friend...
This is a conversation with an eighth grader. Every word is a shot. Without a miss, but with return. It’s not kindly that the class quiets down... Everyone feels the “stone right hand” of Pushkin’s guest, who suddenly left the pages of the 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...” - looking (with an “educational” purpose!) at the lagging and overweight young man, the vocabulary expert expressively reads Mayakovsky’s lines. And the end result is a protracted conflict, anger in the student, and nervous breakdowns in the teacher. There are no winners in school duels.
Vocabulary work near the blackboard for another “language teacher” often looks like this. He called someone difficult, dictated, and he, suspecting nothing, trustingly wrote in a column: unprincipled, cheeky, cynical, unscrupulous... And in the evening, you look, here and there glass is broken, a stand is torn down, a wall is daubed ... Payback for “individual” attention! Resignation is given at once to both the teacher and the school, and first to the good and kind that is in every young soul.
Alas, supporters of pedagogical repression are not at all rare. And this, of course, is far from beneficial to the teacher’s authority, which we are all so concerned about strengthening. One of my colleagues, a supporter of the “pedagogical shock” method, I remember, formulated her position in a unique way: “Everyone first needs to be “hit” hard.” And then see whether to add it or not.”
Teaching is not a fight with a student, but cooperation, communication, excluding “duels.” Search for contact – close and organic. This is possible when the educational relationship between teacher and student develops into companionship and even friendship. And friendship has its own laws. It can't be played. It demands equality, not subordination. “What do you think?”, “Advise”, “Help” - he addressed the guys more than once. It happened that to 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. Kindness, 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 he should! But in humane ways - without irritation, appealing to his dignity.
– When I was in school (it was in 1942, during the evacuation), in the magazine there was the letter “o” next to my last name, which meant no shoes, no clothes. And there were quite a few of them in the class. What letter should I put next to your last name today, Sasha? What do you need? And you, Nadya?
There is silence in the class. But not hostile - thoughtful and nurturing.
No, not all conflicts need to be avoided. Some, I think, need to be treasured. It is not in peace and quiet, in the struggle with oneself and circumstances, that humanity 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 publish a literary magazine. They received it with enthusiasm. We chose the editorial board and correspondents. The deadline was set as strict - two weeks. They scratched their heads. Some already regretted agreeing.
- What will we get for this? – one asked, grinning, as if we were talking about a coven, a private contract.
- Yes, yes. Really, how did I miss this? Live and learn,” he rummaged through his pockets in confusion and took out his wallet: “Here, sorry, that’s all I have.” I think that's enough for the first time.
And he put 10 rubles on the desk where the one who wanted to “have” something was sitting. The guys didn't even have the courage to look at each other. So I deliberately aggravated the conflict situation. However, I think it is 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 relationships between teacher and student. There is another concern, no less important. Solve the most pressing problems of our time on a humanistic basis. Nurture the soul in a person! Discipline, ideological and political consciousness, social and moral activity, responsibility - ultimately the qualities of the soul! Communication, therefore, is not a game of good relationships, but a means that helps the teacher in today’s difficult conditions to fulfill social order society.
The peculiarity of young people is the need for self-affirmation. Hence the eccentricities and antics that outrage teachers. After some childish “prank”, more than once I had to hear from my colleagues an ultimatum addressed to the student: me or him. With difficulty it was possible to turn the hostile “or” back into a reconciling “and.” Honestly, I love it when students joke. Humor in the classroom is a necessary release, a good mood, it 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 mockery. How, why and what the children laugh at depends on the teacher. You must be able to wield this double-edged weapon. With a joke I try to uplift, encourage, protect, help...
– Haven’t read the book? Well done! Now you will read it completely differently if you listen to me carefully.
– Are you silent, don’t know how to answer the question? Very good! This always happens when you start to think.
– Didn’t write an essay? Don’t be upset: the topic didn’t captivate you! What would you like to write about, tell me?
– You basically don’t read the textbook – is it boring? I understand you perfectly. Then look through some critical literature...
– Any questions? – I once asked the guys, having finished the explanation.
- Eat. I didn’t hear which provocateurs were: vile or sad?
- Witty. What flair for words! Well done! So you will run a humor corner in the school newspaper.
The guys laugh kindly, and the author of the inappropriate joke himself, which, however, contained a signal, smiles. This time the lesson was not very interesting. By the way, about signals. Catching them sensitively and in a timely manner 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 as a joke. While they sympathize and even love us, the guys do not accept everything about us.
Dealing with a teenager is a test of our wisdom and human maturity. To see vulnerability, insecurity, and lack of self-confidence behind the causticity, self-will and stubbornness of teenagers means to understand and love them. And to help each of our students succeed as a person, and ourselves as a teacher. This is the path we take to them and to ourselves. The main principle of training and education.

From the pages of a pedagogical notebook
Memory is mysterious and unpredictable. Sometimes you spare no effort so that the student remembers exactly this, that, and not another. But for some reason, “other” is remembered, while “this” and “that” fade into the background.
My young colleagues, it turns out, were intrigued (for this reason, apparently, they were remembered) by a casually dropped phrase: “On occasion, I’ll tell you about Tolstoy’s diaries, Mayakovsky’s notebooks, and my notebooks.” Weeks and months passed. And here's an unexpected request: tell us about notebooks! Frankly, I had already forgotten about my promise. I probably didn’t think about them seriously: I just wanted to emphasize the role of the writing hand in the development of memory. But the evasive and streamlined “on occasion”, “somehow” latently worried the guys.
– Well, I’ll tell you about Tolstoy’s diaries, Mayakovsky’s notebooks...
– About your notebooks! – the class did not let up.
That day I realized something important. Firstly, you cannot intrigue with promises and then forget in the sly hope that the guys will forget about them before you; secondly, a searching, and also writing, teacher for children is something more interesting (closer) than Tolstoy himself, Mayakovsky.
...I went to this lesson not with volumes of academic publications, but with notebooks, tattered and unsightly from time to time. In a hurry, I often wrote down, along with phone numbers, addresses of acquaintances, a list of household purchases... and that cherished school thing that always kept me under tension and fear: losing my notebook. Read everything, some? I decided: everything that has to do with me as a teacher. Let this be a lesson in a pedagogical diary or notebook. I wanted to teach the kids the art of a truly working and working diary. But let this be not just a conversation or reading with comments, but a lesson according to all the rules. So we need a theme. Someone suggested: “A mind of cold observations and a heart of sorrowful observations.” No, my modest notes required an unassuming title. “My thoughts, my thoughts...” - he whispered to himself, remembering the lines of T. Shevchenko. Or maybe “From Notes of a Literature Teacher”? Stilted. “On the pages of a notebook?..” This is what we need. Let's clarify: pedagogical. And... a lesson began on “observations”, “notes”, “thoughts”, which were scattered but connected by one theme. For the sake of brevity, I omit comments and present the reader only with thoughts.

“It is, of course, tempting to introduce a schoolchild to high spiritual culture. So that, like Nadya Rusheva, he knows Greek mythology, Shakespeare, Bulgakov... Painting and music. Sculpture, architecture. In a word, a lot, and for 17 years old - almost everything. But then in the morning, let someone lace his shoes, because sudden morning movements with such a busy head are fraught with disaster...”
“There is a lot to do in the lesson itself and some things you don’t have time to do... “Something” is the mysterious life of the lesson in extracurricular, extracurricular, and home affairs.”
“Lessons that children complete at home should not be paid for: as if they had not taken place.”
“Two is pure psychology! You need to think not about who and why, but why you are putting it on. In this sense, any lagging teacher is a hundred times more unattractive than a lagging student.”
“Like boots or a suit, the mark can be for growth.”
“During the lesson, the student mostly sits, but he has to go. So we need a path. Interesting for everyone.”
“Any lesson that claims to take place is an initiative of both sides. Let’s think about the “resultant” of each lesson.”
“A student’s phonetic and mental activity do not always coincide. Someday we will understand this and learn, if not to evaluate, then to value silence.”
“There are techniques everywhere: in sambo, football, hockey... But in the lesson - not a single pedagogical one. You will inevitably get bored.”
“There are no and cannot be bad, inert students, if you work with them inventively, with imagination.”
“What is your main success? - they sometimes ask. Through my practice, I have proven that every student is interesting and wants to learn.”
“Including a student in a lesson means arranging everything in such a way that the student temporarily forgets that this is a lesson and he is in class.”
“I work with the class just like with a book: I’m looking for a bright student, like a bright detail in the text. From him and with him, involving the others, I teach a lesson.”
“It is just as useful to disturb young people as to calm them down. The gunpowder of the soul is our explosive material, and it does not always have to be dry. The literature also contains an answer to how to make gunpowder wet.”
“Any initiative is worth attention. Childish - the most intense. A student not preparing his homework?.. Initiative! And it needs to be explored. There are no people who do nothing! Not busy with lessons, which means something else. How can the “other” be associated with a lesson, a lesson, and repressed if it is undesirable?”
“Not for a paper “tick”, but for the lively and blond one who sits in the middle row and does not delve too deeply into the complexity of her and common life, – that’s who we work for.”
“The teacher is limited, and often fruitless in his capabilities, if the connection with the class is not expressed by threads connecting him with each individual.”
“The student knows more about himself than we know about him. Our task is to prove this to him with a lesson (!), i.e. help you manage yourself without our help.”
“What does it mean to treat a student humanely? Recognize his weaknesses and, together with him, but unnoticed by him, overcome them. Deal with the “stages”, “evolutions”, “portraits” of the children themselves with the same depth and desire as the destinies 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 the slightest. Knowing this, the wordsmith 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 crossed, but a step that the guys must climb and to which they themselves raised us. Otherwise they might drop it.”
“Yes, a teacher is obliged to study all his life. But first – to 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 gave to the guys; now - what do they give me. When they give, and not me, it means they take more - both on their own and through me.”
“Attention is the most basic human need. In any class there are children who are in dire need of a word that heals, and not just teaches.”
“The schoolchildren themselves give us a new principle for organizing educational work: communication, i.e. introducing another person to your spiritual “I” and introducing yourself to his inner world. Both sides are interesting and understand that they are interesting. Well, what if this is not the case? Then the guys themselves are uninteresting to each other, and the teacher, the more interesting he is, the further he is from them, and they are from him and from each other.”
“If a book, in Herzen’s words, is “a spiritual testament of one generation to another,” then the already thorny path to it should not be complicated, but simplified. Especially now, when people are more willing to “read” TV.”
“Literature for another literary scholar is kind of like “art for art’s sake”: everything is just based on a book! Life, the most difficult and important part of spiritual work, is given to the student for spontaneous comprehension. So raise a harmonious person if the main support is missing.”
“I often hear: the main thing is to teach, there will be education! It, they say, follows from the information we give. But here’s the problem: we give more and more, but less and less comes out. In reality, our self-confident “will be” does not look so optimistic. It is easier to educate than to educate; it is more difficult to connect both, and in this connection to make art a little ahead of educational art, without weakening the connection itself.”
“Pedagogy of understanding” is not a frontal attack, not boring didacticism. This is a subtle technique for bringing books and life closer together; finding the best touchpoints of experience literary hero and student; faith in the spiritual and creative potential of the student; special art of comprehensive training and education; an “urgent” attempt to awaken interest and attention to oneself and, ultimately, to the values ​​of a culture capable of responding to everything that worries.”
“Not only between lessons and after, but also during the lesson itself there should be “recess”, where there is a place for jokes, friendly conversation, instructive conversation, etc. When a teacher is interesting in the lesson, in the breaks during the lesson and in the breaks after the lesson, he is a Teacher.”
“The methodology is not a science of how to do it, but an art that convinces how to be bright and... rational.”
“The lesson failed, but the teacher succeeded - this happens in our business.”
“Everything is a pedagogical tool. One doesn't work, look for another. The most unproductive is the one that is rented.”
“Lessons that guys don't know about, i.e. do not prepare for them in advance, they have a special meaning: to practice the speed of thinking, the dynamism of communication, and guessing yourself 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 class, but to you, not to Chekhov. But we need to go to Chekhov! - they reproached me once. Of course we should. But let them come to me first, and let’s go to Chekhov together.”
“To elevate and offend, to bring together and to separate, to captivate and push away - everything, everything is possible with literature!”
“You have to be both demanding and sincere. “You need a middle ground,” they tell me. That's right: it is necessary! needed! But to be both is no longer the middle, but the top. Peaks in pedagogy are not achieved easily.”
“A real teacher is the one from whom they become smarter and ennobled, and not the one from whom they simply 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: some are good, real, and others... Shouldn’t we give the “other” the right to choose “good” and educate themselves through the efforts of their own will?”
“It is not an easy, sometimes bitter, fate of a male teacher when he, not at a scientist or administrative desk, but at an ordinary teacher’s table, with enviable tenacity and faith in what he has acquired and tested, asserts himself as a creative person. No personality! creativity! your own way! a man at school is a pitiful phenomenon. But there are so many unaccounted ways to offend him when he is not in the same harness with everyone, although together with them and towards the same goal only in his own way and in his own way.”
“Anyone who once worked at a school and suddenly left it—“outgrown,” as they say—is disingenuous. You can't outgrow school. It's not just a job - it's a way of life. That world where important mediocrity will be solved not in months, but literally in a minute. The teacher's day is longer than any other. And you need to do more than others. And so that my family and friends don’t consider me a loser. The school doesn’t keep anyone just like that: it either ties them down or throws them out. Anyone who leaves it is thrown out one way or another.”
“Inspiration should not leave us; it is programmed with a high, if you like, utilitarian, goal. Today the guys are in class, and tomorrow they will be salesmen, doctors, hairdressers... What they become - both my life and yours depend on it. And society as a whole.”
“You can love your geography, physics and be indifferent, 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 are only half teacher. Paradox? No, the originality of the school! Literary educated geographers, physicists, chemists... are those who are open to the educational potential of their subject.”
“Thinking only about the lesson, the teacher fails school. And vice versa. Isn’t this where many people practice - neither lesson, nor school, only half of both. But what is needed is the whole. In this sense, everyone should be a school director at least a little.”
“It is not true that I oppose myself to “other experiences.” Routine, stillborn, where there is no “lesson”, no “literature”, much less a “literature lesson” - yes, no to anyone else! But very often and very willingly they contrast me with myself.”
“I agree with someone’s statement that personality is “energy combined with a high sense of personal dignity.” Oh, this capricious dignity! If you don’t protect him, the “energy” will go out. And without her, in the world of the most energetic, I mean the guys, we have nothing to do.”
“In an open lesson, where there were student trainees, I gave the class an unusual topic home essay based on the play “At the Lower Depths”: “Which of the inhabitants of the shelter do I (!) sympathize with the most (!!) (!!!).” Revealing six exclamation marks is all the work. 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 sitting on the side. “No one!” – she whispered to the students. Sometimes they use these “means” to assert themselves in school.”
“I didn’t do radio broadcasts with other people’s students, but had my own and performed with them. He didn’t circle around the school like a cocky little guy, solving the problems of the lesson, but every day he crossed its threshold and went to his bitter teacher’s desk. 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 bruised pride, they say, we were once “Russians,” and to this day, and for 44 years now, I remain so.”
“I was waiting: there would be a free minute. I’ll look back at what I’ve lived and gone through. I will understand the “secrets”, I will tell them in a systematic way. But everything is on its way and on its way. At work and at work. It is so terrible that it is never done. You spend your whole life preparing, and you’re not ready. You plan for the next 45 minutes, and you don’t notice how the years go by. But I am happy that I have always lived and live among the guys, with them and for them.”

Fragments from the books of E.N. Ilyin were used:

The art of communication
Birth of a lesson

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"First of September"

Ilyin Evgeniy Nikolaevich. The new things 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 on literature had a traditional scheme: 1) the biography of the writer, poet is presented; 2) his work is studied and analyzed in large sections, for example, lyrics, civic poetry, fairy tales, historical stories by A.S. Pushkin or other writers, poets; 3) general ideas are illustrated with excerpts from the writer’s works, quotes 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” (broadcasts) the material, and the student “takes” it, if there is a desire to “take”. Very often the student has no interest in reading the work. Not all students read program literature. At E.N. Everyone reads Ilyin! The negative side of the traditional study of literature: the cognitive task comes first, and only then the educational task. In the methodological system of E.N. Ilyin has a number of findings in the construction of the study of the topic, presented “in reverse”, in contrast to the traditional one. An innovative teacher sees the main goal of teaching literature in its educational function, and only then in its cognitive function. “It is possible to fully intensify knowledge in a public school only on an educational basis.” Having abandoned passive teaching methods (“Memorize as the textbook says!”), he uses a variety of techniques to encourage students to actively search for “their truth,” their own views and assessments of the problems being discussed. 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 a literature lesson.”

E. N. Ilyin considers the detail to be the pearl of the text. “Unraveling everything with one knot and putting it all back into a knot - isn’t it tempting? Problematicism, integrity, imagery - everything, everything is in this knot." "Starting with "trifles" and "details", the teacher argues, searches, argues, makes mistakes, corrects and reaches large generalizations: from detail -> through search -> to generalizations, the search begun in the lesson continues outside the lesson, creative and sometimes playful tasks appear.

Particular attention is paid to remarks and questions from students during the lesson. They express search, dispute, doubt, objection, desire to have your own point of view. Curiosity develops, the student is drawn to literature. And the teacher not only teaches, but also learns from the students.

E. N. Ilyin attaches importance to pedagogical technology. He considers the artistry of a teacher to be the highest teaching tool. A literature lesson is an art, and the teacher is the artist of his lesson: he is a screenwriter, a director, a performer, a discerning critic, and a literary critic. If this is not the case, says E.N. Ilyin, then the teacher deals with the notorious “gallery of images”, “figures, characters, where the academician of literature unexpectedly finds himself as one of the “typical representatives” of inanimate, invisible literature.”

The importance of communication between teachers and students in educational work is great, says E. N. Ilyin. It is necessary to build a new type of relationship between teacher and student, which is based on “goodwill, wise simplicity, mutual contact and interest.”

We talked about the experience of an innovative literature teacher. But what about E.N. Will a teacher of other subjects take Ilyin? Anticipating such a question, in one of his books he himself answered that his experience should be of interest not only to literary scholars and not only to teachers, because it has been verified by many years of practice and a high, stable final result. Of course, a teacher of any subject will take the educational function of the lesson, which ensures the success of the teacher’s work, the technique as the unit of the lesson, the 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.

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