Ministry of Education and Science of the Russian Federation

Federal Agency for Education

State educational institution

Higher professional education

"Orenburg State Pedagogical University"

Department of History

and methods of teaching history and social studies

Course work on the topic of:

“The role of visualization in the lessons of modern history”

Scientific director

Ph.D. Gugnina O.V.

___________________

Performed

student of group 401IS

Neklyudova O.S.

___________________

Introduction. 3

Chapter I. Psychological and pedagogical justification for the use of visual aids in history lessons. 7

I.1. Features and role of visual learning in solving educational problems. 7

I.2. Classification of visual teaching aids and their types... 11

Chapter II: Methods of using visual teaching aids in teaching modern history in 9th grade. 21

II.1. Description of the course on modern history and features of its teaching 21

II.2. Methodological techniques for using visual aids in modern history lessons in 9th grade. 25

Conclusion. 44

If the photo shows a large group of people, then schoolchildren themselves can “become” participants in the historical shooting. To do this, you need to imagine yourself as one of these people, “take your place” in the photograph using a small square of paper, where the student’s self-portrait is symbolically drawn. The English teacher-methodologist D. Smart, who recommends this technique, advises schoolchildren to come up with two short remarks on behalf of “their hero”: one for the photographer, facing the future, and the other for the “neighbor standing nearby.” For example, what were German soldiers thinking about during the initial period of World War II? Or what feelings did the participants of the Popular Front demonstration in Paris experience? What did the participants of “Red May” 1968 in France chant?

In school textbooks on modern history, the group of so-called mass photographs is quite numerous. They recreate a generalized image of a specific event or phenomenon and, as a rule, relate to the main text only indirectly. But these photographs can become original and vivid sources of information about the past, felt and experienced by students personally, and therefore leaving a mark not only in memory, but also in souls.

Not all photographs and captions, however, are ready to immediately reveal their secrets to the audience. It happens that the place and time of the event captured in the photograph can be determined by the students themselves: “Checking for compliance with the “Aryan standard””

Based on some photographs, it is appropriate to invite students to think about not just one, but a whole range of questions:

1) what I see;

2) what can I explain in this picture;

3) what would I like to know about this image;

4) how can I use this image in studying this topic?

The paragraph about the “Velvet Revolution” in the GDR and the unification of Germany is accompanied by the photograph “The Fall of the Berlin Wall. November 1989 „ Meanwhile, in the textbook about this event there is only one sentence: “On November 8, the Berlin Wall fell.” Your own investigation based on a historical photograph will help students update previously acquired knowledge about the “Iron Curtain” and the symbols of the era “ cold war”, will enrich the dry narration of the textbook with vivid information and lead to original conclusions.

A new touch to the reconstruction of the content of the photograph is introduced by the question of the photographer himself, his political engagement. For example, who took the photograph entitled “The Munich Agreement” in a recent history textbook? It is known that at this meeting on September 30, 1938, A. Hitler, B. Mussolini, E. Daladier, N. Chamberlain and other high-ranking officials were present, who agreed on the division of Czechoslovakia and the transfer of the Sudetenland to Germany. What moment of the negotiations is captured in the photo? Who is in the center of the frame, who are its “heroes”, and which politicians “play the retinue”? It was beneficial for the official circles of which country or series of countries to present the Munich meeting in such a friendly atmosphere? With what captions could this photograph appear on the pages of German, Italian, English, French, Soviet and Czechoslovak newspapers?

Sometimes students do not need to look for answers to questions in additional sources. Under certain conditions, the photographs themselves and questions about them can suggest a solution.

Now let's talk about the “rough language of the poster” (V. Mayakovsky). This type of illustration has also become popular in school textbooks on modern history.

There are more posters in textbooks, but they are selected rather one-sidedly - images of only one side of armed conflicts are presented (Russian posters in the First World War, posters of the “Reds” during the Civil War, Soviet posters during the “period of the offensive of socialism along the entire front”). The authors of Russian textbooks do not risk showing schoolchildren propaganda materials from Nazi Germany, Western Europe and the United States during the Cold War, but it is not necessary to rely on the contents of the textbook, because a modern history teacher has a lot of sources of additional material, the most extensive, but unfortunately not yet universal accessible - Internet.

Meanwhile, even the use of posters available to schoolchildren as sources of historical information and means of organizing research work will cause certain difficulties due to the fact that the methodology for such activities has been very poorly developed by Russian teachers. Therefore, let us turn to the experience of foreign colleagues. In line with modern goals and values ​​of general history education, the Bulgarian scientist R. Kusheva offers a rough plan for analyzing the poster:

1. Name and date the event to which this poster is dedicated.

2. What audience is it intended for?

3. Which characters are represented here and for what purpose?

4. What other symbolism is used in the poster?

As in the case of photographs, the plot of a particular poster can prompt additional questions about its content and design: about the slogan, composition, artistic features, national traditions, the nature of the publication, etc. Let's give specific examples analytical work ninth graders with posters from a textbook on modern history. In the topic " Anti-Hitler coalition"Problem groups of students are asked questions about the poster. 1) In what period of the war do you think and for what purpose could this poster have been drawn. 2) What is its main idea? Briefly formulate it in one or two sentences. 3) What symbols are used by the artist to express the main idea of ​​the poster. 4) Comment on the inscription on the poster. What role does it play in the images: a) explains the idea of ​​the drawing; b) enhances the propaganda nature of the poster; c) something else.5) What was the significance of this poster?

Caricature.

In terms of methodology, cartoons were much more fortunate than posters. A.A. studied the methods of their use in school practice of studying history. Vagin, P.V. Gora, V.A. Kuzmin and others. The works of these teachers substantiate the classification of cartoons by function (caricatures-illustrations, cartoons-characteristics, cartoons-portraits, cartoons-symbols) and by content (political, social, historical and everyday life).

The domestic experience of using caricatures in school history courses, mainly of modern and recent times, comes down to their illustrating materials on the history of culture and everyday life, to demonstration during the teacher’s story, to cognitive tasks aimed at explaining the meaning of the caricature and the caption to it, at clarifying the political and the religious views of the author of the image, on the reconstruction of the situations that caused the appearance of the caricature, on extracting new information about the culture of the historical era, on composing dialogues between the characters in the caricature.

However, the possibilities of cartoons as sources of historical information and means of developing critical thinking increase many times over in cases where schoolchildren can examine the original image from not one, but several angles. An approximate plan for a comprehensive analysis of a caricature, including questions about the content, purposes and meanings of the image, the author’s beliefs, the intended audience of viewers and one’s own attitude to the idea of ​​a caricature, was proposed by V.A. Kuzmin.

1. What is the main idea of ​​this cartoon?

2. What exactly does this cartoon ridicule (the appearance of a politician, his behavior, a political event or phenomenon)?

3. If the cartoon depicts a politician or a group of people, think about whether this cartoon humiliates him (their) dignity?

4. Determine which political ideology the author of this cartoon is a supporter of? Give reasons for your answer.

5. Determine which social group Is this cartoon designed? Give reasons for your answer.

6. Express your attitude to the main idea of ​​this cartoon.

7. Think about the purpose for which this cartoon was created (to offend the politician depicted in it, to point out his significant mistakes, to arouse public discontent, to ridicule a negative political phenomenon, etc.). Give reasons for your point of view.

A more complex version of a comprehensive analysis of caricatures, which can be used in high school, was developed by R. Kusheva.

1. Determine the theme of the image.

2. Identify historical characters. By what criteria did you establish the identities of the people depicted in the caricature?

4. Explain the allusion of this cartoon.

5. The cartoon is not dated. By what indirect signs can you establish the approximate time of its creation?

The following two examples illustrate the possibilities of using modern methodological recommendations in organizing the cognitive activity of schoolchildren with political cartoons in a textbook on modern history.

Consider the caricature of " new course"F. Roosevelt and determine which wing of the opposition it belongs to. A historical investigation will lead you to the answer. rough plan:

1. What, in your opinion, is the main idea of ​​the cartoon?

2. What do the inscriptions on the back of the donkey “New Deal Despotism” and on the gate “US Constitution” mean?

3. What does this cartoon ridicule about F. Roosevelt’s “anti-crisis program”?

4. Think about the purpose for which this cartoon could have been created (to insult the US President / point out his political mistakes / arouse public discontent / use the difficulties of the socio-economic situation in the country for the election campaign)?

5. What political ideology is the artist a supporter of?

Look at the Marshall Plan cartoons and think:

1. What led the US government to provide extensive economic assistance to Western European countries affected by the war? Why the USSR and countries of Eastern Europe did they give it up?

2. What features of the Marshall Plan are reflected in both cartoons?

3. Which participant (or non-participant) in this plan do you think the cartoonists are making fun of: the US government? Western European countries that accepted aid? Eastern European countries that abandoned it? Justify your opinion.

4. In connection with the answer to the previous question, briefly formulate the idea of ​​each cartoon and determine the place of its creation (USA, USSR, one of the countries of Western Europe).

5. If you know of other cartoons about the Marshall Plan, analyze them using the outline suggested above. What are the fundamental differences in satirical assessments of the Marshall Plan on both sides of the Iron Curtain?

Reproductions of works of art

Among the paintings used in teaching history, regardless of the nature of the plot, educational paintings created as teaching aids, artistic works of historical painting created by artists as works of art of a certain genre.

True, reproductions of many works by major artists on historical themes are used as visual aids in history lessons. On the other hand, a good, highly artistic educational painting is undoubtedly a work of art. And yet, the educational picture is qualitatively unique, has a number of significant features, and special requirements are placed on it.

First of all, an educational picture on history is created by an artist or illustrator specifically as a school visual aid. But unlike educational tables, in which the image of material monuments of the past is presented in isolation, the educational picture is a synthesized manual, giving a holistic image of a historical phenomenon, where all alimony is selected and combined. In terms of content and plot, the educational picture must fully correspond to the school curriculum and the age of the students. It reflects not random episodes, but key, significant events and phenomena studied in history lessons and accessible to students’ understanding. Its composition is simple, the contours are clear. It is easily visible. And most importantly, all the content of the educational picture is deliberately selected in accordance with the educational, cognitive and educational objectives of this topic. There is nothing superfluous in it, but there is everything sufficient to create a specific idea of ​​​​the phenomenon being studied and to draw the necessary conclusions about it.

As for the works of painting on a historical theme, many of them were included in a series of paintings on history published for the school, others are used by teachers in history lessons in the form of separate large-format reproductions.

In a lesson, it is inappropriate to use a picture whose plot goes far beyond the scope of the school curriculum. Its use, unnecessarily overloading the lesson, would require lengthy and complex explanations

The teacher’s knowledge of the forms of combination of words and visual aids, their variants and comparative effectiveness makes it possible to creatively use visual aids in accordance with the assigned didactic task, the characteristics of the educational material and other specific conditions.

Reproductions of works of art are also not new to the pages of school history textbooks. Methodists I.V. Gittis, A.A. Vagin, N.V. Andreevskaya, D.N. Nikiforov and other scientists paid quite a lot of attention to the methods of using paintings in the classroom. The variety of ways in which schoolchildren can engage in cognitive activity with this type of illustration ultimately comes down to descriptions, stories, logical analysis of the image, creative reconstruction of the “history” of the characters in the pictures and dialogues between them.

By again drawing attention to the different role of reproductions in school history courses, the author's, subjective nature of works of art is updated. In the context of modern goals of general historical education, it is important to bring students to the understanding that in any picture there is an author’s position of the artist, to teach schoolchildren to discover this position and, on this basis, enter into dialogue with the artist.

This skill is especially necessary now, because reproductions of paintings not only decorate paragraphs about culture, but also become part of the text - in the broad sense of the word - in stories on political, socio-economic and ideological-spiritual topics. But it is worth noting that the artists were not absolutely free from the ideology that dominated their contemporary society, from certain requirements and expectations in the interpretation of fateful moments of the past.

However, questions about artistic illustrations in textbooks do not take these features into account, “work” in the mode of complete trust in the artist, asking schoolchildren to “read information” from the canvas of a painting, without subjecting reasonable criticism to the author’s interpretations of events and the evaluative conclusions arising from them. For example, “who could the people depicted in the picture be”; “Is it possible to imagine the outcome of the battle from the picture if it happened”?

Such questions, in essence, do not differ from questions about educational drawings created solely for didactic purposes. Meanwhile, the ability to doubt the reliability of an artistic depiction, to treat it as the author’s version of a historical event, conditioned by very specific circumstances, is especially necessary when analyzing works with complex dramatic plots and ambiguous opinions about their causes, nature and results. The analysis of such works cannot be limited to retelling visual information; it must be directed deeper into the plot, penetrate into the creative intentions and spiritual quests of the artist, and set the viewer up for a conversation with him.

Sometimes artists paint themselves among a crowd of historical characters, encouraging viewers to discuss with them what they saw and experienced. Sometimes masters of the brush leave literary works to their descendants that reveal their ideas, and they can also become sources of spiritual communication between viewers and artists.

Without special methodological assistance, it is difficult for a teacher to develop a version of a multi-level conversation on the reproduction of a work of art. To simplify this task, you can use the picture analysis plan used in schools in Denmark. It consists of two parts:

1) questions aimed at describing the picture;

2) questions aimed at interpreting its plot. A Bulgarian history textbook offers high school students a general plan for analyzing a work of fine art from three perspectives.

1. Questions related to the presentation of the work:

what event or phenomenon is depicted; what it refers to: a political event, a historical figure, a military operation, everyday life;

when this work was created, what is the direct or indirect information about the time, style, place of publication of the image;

what is the location of the action depicted in the picture (battlefield, city);

who is depicted in the picture, is it easy to recognize real historical figures, determine the social status of representatives of social groups;

2. Questions related to image description:

how the figures are arranged - singly or in groups, are all the people depicted in the picture shown equally;

What artistic means did the author use for his work: colors, symbols?

3. Questions related to the interpretation of the image as evidence of the era:

what is the significance of this image as evidence of the era: what is remarkable about the time of creation of this painting;

Is this image objective, does it reflect the event fully enough;

What is the value of the information that this work carries?

Multimedia programs.

As the experience of using ready-made multimedia software packages shows, in a history lesson it is more advisable to use them in this type of lesson, such as a lesson - learning new material. Multimedia programs in this case play the role of a source of knowledge or an assistant in finding answers to questions posed by the teacher. Of course, in modern conditions it is impossible to conduct every history lesson accompanied by computer technology, so it is necessary to select those topics where the use of multimedia is most relevant and supported by the program. They are most significant in lessons on the topic “Culture” and in lessons where the visual range plays an important role in students’ assimilation of educational material.

Often textbooks or other printed aids make reference to historical monuments, the images of which are not included in them. Conducting a lesson on the topic “Culture” makes no sense if the students do not have visual images before their eyes. The assimilation of the material in this case will have a very low percentage (10%). A lesson using traditional visual teaching aids significantly increases this percentage (30%). When using multimedia programs in such lessons, there is a significant increase in learning the material than when using traditional visual teaching aids. (>50%).

This result is achieved by the presence of a number of advantages of multimedia programs, such as:

multimedia mode (students do not see a static picture, but examine masterpieces of world culture in great detail from various angles, or battles with all their dynamics and movements are revealed before their eyes);

Vivid audio and video images have an impact on the emotional sphere of students. Thus, in a lesson on the topic “Main trends in art and mass culture,” one of the stages of the lesson is devoted to mass culture. The speaker's soulful voice and magnificent animation attracted the attention of the children, leaving no one indifferent. Walt Disney and his characters, Charlie Chaplin, mentions and photographs of modern Hollywood actors (A. Schwarzenegger, N. Kidman, J. Depp captivated the children and impressed them, because they encounter most of the figures of mass culture every day when watching television and films, reading press. No illustration can cause such excitement!

Of course, the capabilities of multimedia programs cannot be overestimated. They can in no way replace the teacher in the classroom. Turn a lesson into a simple demonstration beautiful pictures under no circumstances is it possible. Practical experience shows that a demonstration of clarity may be of interest to an ordinary schoolchild only for 3-5 minutes. Therefore, multimedia should be given only certain stages lesson, illustrating or supplementing the material being studied.

Based on the capabilities of computer presentations, they can be used in any type of lesson: a lesson - control of knowledge (slides act as activators of thinking, on them the teacher prepares tasks of various types and levels of complexity), a lesson in learning new material (additional material displayed on the screen makes it possible students to independently search for answers to questions, compare facts, compare phenomena, monitor the correctness of assignments and much more), a combined lesson.

However, the need to use computer presentations is determined by the teacher himself. The place of presentations in any type of lesson is also determined by the teacher.

Video materials.

Another type of visibility using TCO is the demonstration of video materials. This is one of the most interesting and productive types of work in a history lesson for both teacher and student.

Among the forms of working with video materials, the following are distinguished:

use of recordings of educational, popular science, feature films, and political broadcasts in the classroom;

recordings of conversations and interviews;

video tours, local history stories;

recording student responses for discussion;

creation of educational videos.

Before demonstrating video material, it is necessary to prepare students for its perception: update existing knowledge and create a target setting. Discussion questions are asked before viewing the video visuals. An example is working with video material in a history lesson on the topic “Totalitarianism in Germany and Italy,” where a fragment of the BBC documentary “Hitl Hitler Youth” (3 minutes) is shown. Before viewing, ask questions:

Is the Hitler Youth a voluntary organization?

Is the creation of such an organization legal from a human rights perspective?

what are the goals of creating such a youth organization in the Third Reich?

What place did the family occupy in the upbringing of young people?

Would you consider it an honor to join the Hitler Youth if you were citizens of Nazi Germany?

Thus, visibility is not a colorful lesson design, but a subject of purposeful conversation in the lesson. To do this, the teacher must know illustrative material in order to teach schoolchildren to “read” this or that type of visualization. Its use in the context of a lesson should be subordinated to the set goals and objectives of the lesson. In the lessons of the modern history of foreign countries, visualization is of paramount importance, since this course provides large and complex material in content, and in order to facilitate the assimilation of information, interest students and contribute to the solution of educational, educational and developmental tasks, it is necessary to use various types of visualization, but one should not oversaturate a lesson for her, otherwise the teacher will get the opposite effect.

Conclusion

Visual material serves as an external support for internal actions performed by the child under the guidance of a teacher in the process of acquiring knowledge. The introduction of visual material into teaching should take into account at least the following two psychological points:

1) what specific role visual material should play in the assimilation of historical material;

2) what is the relationship of the substantive content of the visualization to the topic of the lesson, which is subject to awareness and assimilation.

The place and role of visual material in the learning process in a history lesson are determined by the relationship of the student’s activity, in which this material is able to take the structural place of the goal (subject) of his actions, to the activity that leads to an awareness of the material that needs to be learned.

Visibility is not some property or quality of objects, objects or phenomena. Visibility is a property, a feature of the mental images of these objects. And when they talk about the visibility of certain objects, they actually mean the clarity of the images of these objects.

A modern teacher has the opportunity to use many types of visual material and means of presenting it, especially in teaching a course in modern history, which is very important for the learning outcomes of students and the achievement of educational, educational and developmental learning objectives, because studying a course in modern history is designed to promote the formation of older adolescence has a holistic, integrated idea of ​​the past and present of world civilization, its development trends, without which it is impossible to navigate current events in socio-political life and determine one’s own civic position. And since there are more than enough visual sources for this course, in addition, the material being studied is complex and voluminous for 9th graders, all this inevitably leads to the use of visual teaching aids in lessons on the modern history of foreign countries.

As for innovations in the use of visual teaching aids in history lessons, and in particular the course of modern history, first of all it is necessary to say about the widespread use of technical teaching aids in teaching, which expands the teacher’s range of opportunities in searching for and presenting visual material in history lessons. TSR becomes especially important in the study of modern history, since the development of science and technology in the twentieth century led to the emergence of new historical sources. This includes photographic and film material, as well as sound recordings. In addition, new means of studying history are being introduced: animated maps, presentations, multimedia projects, etc. All this leads to an increase in the influence of TSO on the educational process and to a decrease in the role of chalk drawings, wall maps, etc. However, today in our country there is such a problem as the lack of funds for many schools to introduce new technologies, and among other things, there is conservatism in the views of many teachers regarding methods of teaching history, but we should not forget the effectiveness and skill of a teacher’s work depends on his desire teach and love for students and your profession.

Bibliography.

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8. Mountain P.V. Methodological techniques and means of visual teaching of history in secondary school. - M.: Pedagogy, 1971.

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Appendix 7.

Appendix 8

Appendix 9.

Presentation “Totalitarianism in Germany and Italy”, Appendix 10.

Visual learning is such learning in which ideas and concepts are formed in students on the basis of direct perception of the phenomena being studied or with the help of their images. By using visualization, the teacher brings extremely important point- living contemplation, which, as is known, is ultimately the initial stage of all knowledge. It is built not on abstract ideas and words, but on specific images directly perceived by the student.

Ya.A. Comenius at one time identified visualization as the most important component of the learning process: “The beginning of knowledge necessarily comes from sensations (after all, nothing happens in the mind that was not previously in sensations). Therefore, therefore, one should begin learning not with a verbal interpretation of things, but real observation of them. And only after becoming familiar with the thing itself, let it be discussed, the matter is clarified more comprehensively...") This statement of his confirms the correctness of introducing means of clarity into the first place of classification. Reflected generally in visual aids, history reveals the integrity of direct perception.

The word further specifies, clarifies, analyzes, generalizes, and strengthens the emotional attitude for implementation in one form or another of interaction. It must be said that in the process of teaching history, visibility is always described in words, acting in this connection either as the main dominant means with the auxiliary word, or illustrating verbal constructions, or equally harmoniously participating in the formation of an image, in analysis, in the act of historical action in an event. Thus, the entire system of means contributes, on the one hand, to the functional development of models of life activity and behavior of subjects of history, and on the other hand, it participates in the formation of attitudes towards modern reality.

The use of visual aids not only to create figurative ideas in schoolchildren, but also to form concepts, to understand abstract connections and dependencies is one of the most important principles of didactics. Sensation and concept are different stages of a single process of cognition.

Thus, with the help of various methods of concretization, the method of description, it is possible, without any visual aids, to create among students unfamiliar with the horrors and hardships of the Second World War, some idea of ​​​​the mass casualties of the war, of the need to strive to ensure that such an event does not happen again, since the elements Students can imagine this idea (“huge losses”, “extermination of peoples”, “famine”, “occupation”), but not realize it. The fact is that through direct perception of the phenomena of war, students could receive only the elements necessary to create a complete historical image, and the image of the past itself was recreated by them based on the words of the teacher in different ways, in accordance with different abilities of imagination, level of attentiveness and empathy.

When verbally describing events and phenomena of the past in history lessons, in the overwhelming majority of cases, it is not possible to rely on students’ direct observation of the objects described or narrated because this phenomenon is already past, inaccessible to the living, direct perception of the students. Therefore, their historical ideas, created by the method of internal clarity, will inevitably be vague, inaccurate, and not entirely adequate to historical reality.

In teaching history, no means of artistic storytelling, no figurative presentation can create in students such accurate and specific ideas about the past as arise when perceiving the objects being studied or their images.

Usually, methodologists and teachers treat drawings and photographs, diagrams and tables, maps and time lines as teaching tools and develop techniques for them. effective use for figurative demonstration of new facts, for generalization and testing of students’ knowledge and skills. Much less often, illustrations are seen as sources of historical information equivalent to printed texts.

But this function at the “genetic” level is embedded in illustrations related to the visual clarity of a documentary nature. These are photographs taken directly during the time period that the textbook describes; posters, caricatures and works of art, where the time of creation of the picture (in a period close to the event or much later) determines the peculiarities of its perception and analysis. For obvious reasons, this list does not contain only drawings made by contemporary artists commissioned by publishing houses in the preparation of educational books.

All these images, varied in content and genres, are united by their inherent subjective, authorial character. Therefore, each illustration can (and in modern conditions should) become the object of critical and axiological analysis by students.

Regarding photographs, there is an opinion that film certainly conveys the whole truth. Nevertheless, one can evaluate the possibilities of editing and retouching, for example, by carefully comparing two photographs depicting the signing of the German-Soviet Non-Aggression Pact: the first shows only Molotov and Ribbentrop, the second shows the same ones, but against the background of a different decoration, and behind them stand all the official leaders of the USSR, including Stalin." How many "wonderful discoveries" await curious schoolchildren where the authors of posters, cartoons and even historical paintings did not hide their faces, views and demands!

Analysis of illustrations from a critical and axiological angle seems quite difficult, because in history textbooks they are usually provided only with a short explanatory text, and questions and assignments, if any, ask children to figuratively describe the illustration or creatively comment on its plot, for organization Such work requires a thorough selection of material from additional sources. Meanwhile, in some foreign history textbooks, special sections have appeared that teach schoolchildren methods of critical analysis of maps and statistical data, methods of historical research, as well as methods of working with works of art as evidence of a historical era. All of these skills seem important for living in a multicultural and rapidly changing world.

Thus, visibility plays big role in teaching history:

When presenting historical events, visualization partially specifies or partially replaces narrative or descriptive material;

Visualization increases the content of the presentation, reducing the time spent;

Visualization allows you to clarify students’ historical ideas;

Visibility creates a vivid and accurate visual image of the historical past;

Visualization facilitates the knowledge of complex phenomena of the past, historical concepts, and leads to an objective understanding of history.

2. Techniques for working with educational pictures in history lessons.
3. Techniques for working with illustrations in textbooks during history lessons.
4. Conditional visibility in teaching history.
5. Technical means and their use in teaching history.

Bibliography.

1. Functions and significance of visual teaching of history.

Visual learning is such learning in which ideas and concepts are formed in students on the basis of direct learning. perception of the phenomena being studied or using their images.
The principle of visibility was formulated in the 17th century. justified by Ya.A. Comenius: “...everything that can be imagined for perception by the senses, namely: visible - for perception by sight, audible - by hearing, smells - by smell, subject to taste - by taste, accessible to touch - by touch. If any objects can be perceived at once by several senses, let them be grasped by several senses at once.”
Visual learning plays a special role in history lessons. Students are deprived of the opportunity to directly perceive the events of the past. Historical events are unique. Therefore, various visual aids are an important source of historical knowledge. They provide the perception of historical events through “living contemplation.” Visual learning affects not only the sphere of feelings when perceiving the past, but also the sphere of thinking and performs a number of functions.
First of all, with the help of visual teaching aids, students create reliable, visual images of the historical past.
Visual teaching aids concretize historical facts and overcome the modernization of the past in the minds of students.
Visibility serves as a support for revealing the essence historical phenomena, the formation of basic historical concepts and patterns, ensures their deeper assimilation by students.
Visual teaching aids have an emotional impact on students. Visual learning also shapes the aesthetic views of schoolchildren, teaches them to “see” the moral content, artistic merit, and skill of their creators in works of art, and develops the need for constant exposure to beauty.
Visual learning develops students' observation, imagination, memory and speech, and maintains a constant interest in the historical past.
A variety of visual aids are used in teaching. Based on the work of Soviet methodologists, we distinguish three groups of visual teaching aids: subject-based, pictorial, and conventionally graphic.
Object visibility has a special cognitive value and presupposes the direct perception of genuine material monuments of the past or its material traces. It includes monumental historical monuments (Egyptian pyramids, remains of a Roman aqueduct, the Church of St. Sophia in Constantinople, St. Sophia Cathedral in Kiev, architectural monuments, etc.); memorable places of historical events (Montmartre in Paris, Senate Square in Leningrad, Krasnaya Presnya in Moscow, etc.). Relatively few such monuments have reached us from the distant past unchanged, but even they cannot be an object of direct perception for the vast majority of students. Material monuments of the past and more recent historical times include tools, household items, clothing, jewelry, vehicles, weapons, etc. The degree of their availability for use in the educational process is much higher: they are exhibited in central, local and even school museums. Recently, training sessions are often conducted in the form of excursions to a museum (for example, to the archaeological department of a local history museum on the topic “Our land in ancient times” or to the department of modernity on the topic “Economic and cultural achievements in our region”).
Creation of school historical museums has important cognitive significance and plays a big role in the education of students.
Visual clarity involves the use of scientifically based reconstructions of architectural monuments, objects of labor and everyday life, and artistic compositions. They are embodied in various layouts, models (including active ones), copies made in full (external) accordance with the original. These are documentary flat visual aids - drawings of contemporaries, documentary photographs, films, etc. Compositional visual media include educational paintings, reproductions, feature films, etc.
Visual aids occupy a central place in visual teaching of history. Their educational significance is enhanced by the fact that schoolchildren of all ages can actively participate in the production of such aids.
Conventional graphic clarity reflects the essence of historical phenomena, their interrelation, and dynamics in the language of conventional signs. These are maps, diagrams, graphs, diagrams.
It is reflected in the variety of types of visualization and their classifications. In the classification based on external characteristics, scientists and methodologists include printed, screen, and audio teaching aids. Most often, they turn to classification according to the content and nature of the historical image, highlighting objective, pictorial, and conventionally graphic clarity.

2. Techniques for working with educational pictures in history lessons.

A significant place among visual aids is occupied by educational paintings - visual aids specially created by artists or illustrators for school course topics. So that educational paintings can be easily perceived from any place in the classroom, thematic collections of paintings are made large enough and painted in bright colors.
Educational paintings are divided into event-based, typological and cultural-historical. Event pictures give an idea of ​​specific individual events. Most often they recreate a decisive moment in history and require a narrative narrative. These are, for example, paintings by V.A. Tombi “The Battle of Salamis”, M.G. Reuther “Joan of Arc’s entry into Orleans”, T.I. Ksenofontov’s “Fight of Spartacus with the Roman detachment”.
Typological paintings reproduce repeatedly repeated historical facts and events typical of the era being studied. Even in pre-revolutionary times, such paintings were created by V.I. Lebedev; among them are “Polyudye”, “In the estate of the prince of the patrimonial land”, “Veche in Novgorod”. Sometimes event paintings can be classified as typological, for example “The Burning of Giordano Bruno”. Although this is a single event, it is typical of the times of the Inquisition of the Catholic Church in the 16th century.
The educational picture “Temple Economy in Egypt” is analyzed together with illustrations from the textbook. The analysis allows us to determine what knowledge the Egyptians acquired during their work (knowledge of arithmetic, geometry, the nature of the country, the movement of the Sun), and further suggest what scientific knowledge should arise in Western Asia.
Cultural and historical paintings introduce everyday objects and monuments of material culture. They can depict architectural monuments and architectural styles, sculptures from different times with their features, various mechanisms and principles of their operation.
During the lesson, the picture is used for various purposes: as an initial source of knowledge or as a visual support in the teacher’s story; as an illustration of the presentation of a story or as a means of consolidation. To reveal a process, several paintings are shown at once, for example, to show changes in the styles of architectural monuments in different periods stories. As a rule, most of the lesson time is devoted to presenting the content of a picture that is new to students.
What is the sequence of working on a painting in class? Methodist V.G. Kartsov proposed the following actions:
1) the teacher opens or hangs up the picture at the moment when, in the course of the explanation, he comes to the description of what is depicted on it;
2) gives students some time to perceive as a whole the image that has just appeared in front of them;
3) starting the story, indicates the place and time of action;
4) giving general description the setting, the background against which the action unfolds, stops at the main thing;
5) reveals details and particulars;
6) in conclusion, makes a general conclusion, indicates the essential features of the phenomenon.
A purely art historical analysis of an artist’s work is also possible. During the lessons, paintings by V.I. are analyzed. Surikov (“Morning of the Streltsy Execution”, “Conquest of Siberia by Ermak”); I.E. Repin (“Ivan the Terrible and his son Ivan”, “M.P. Mussorgsky”) based on specially designed instructions. One of these reminders is offered by N.I. Zaporozhets:
1. Name of the author and time of creation of the work.
2. The content of the work: its plot, who is depicted, what is depicted (foreground, center, background, the setting in which people are depicted - the interior of the room, landscape).
3. Means of expression: volume, proportionality, perspective, color.
4. What feelings and ideas did the artist put into his creation?
A possible task for students is to tell what historical legends and real events underlie the paintings created by Russian artists of the 19th century.
Paintings by V.I. are offered for analysis. Surikov “Boyaryna Morozova”, “Morning of the Streltsy Execution”; N.I. Ge “Tsar Peter and Tsarevich Alexei”; V.V. Vereshchagin “Don’t hesitate, let me come!”; I.E. Repin "Letter of the Cossacks to the Turkish Sultan."
When analyzing this or that work of the artist, students for educational purposes should be introduced to the biographical information of the author of the painting. The demonstration of portraits of painters is accompanied by descriptions of historical figures. The description may include memories of people who knew the person depicted in the portrait, documents relating to him, letters, memoirs, and excerpts from fiction.
Methodists I.V. Gittis, V.N. Vernadsky, A.A. Vagins describe various techniques for working on a painting. The teacher shows the picture, and the students name everything that is depicted on it; according to the teacher’s instructions, they give a description of individual elements and the picture as a whole; they come up with words for the characters and stage individual plots of the picture; they try to imagine what happened before or after the moment depicted in the picture.
Educational pictures can be used to consolidate and generalize students' knowledge. Thus, students are asked to place in chronological order the paintings “Battle of Kulikovo”, “Battle on the Ice”, “Minin’s Speech in Nizhny Novgorod"or explain the sequence of arrangement of the paintings "Here you are, grandmother, and St. George's Day", "Cossacks".
Based on the paintings, it is possible to carry out a final repetition, for example, on the topic “The fight against the Mongol-Tatar invaders.” Students are offered paintings: 1. Defense of the city of Vladimir from the Mongol-Tatars. 2. Morning on the Kulikovo field. 3. Ivan III tramples the Khan's basma. Questions and tasks for students: 1. What was the strength of the Mongol army? 2. How did the Russians fight? (Scene 1.) Why were they defeated after all? 3. What is the idea of ​​the picture? 4. Is it possible to determine from picture 2, showing the army before the battle, who will win? 5. What gave Ivan III the opportunity to respond to the Khan’s ambassadors in this way? (Picture 3.) 6. Using these three pictures, show the development of the three main stages of the struggle of the Russian people against the Mongol-Tatar invaders.
To practice skills, you can bring several paintings to the lesson, but no more than two or three. The abundance of illustrative material, especially used for the first time, will weaken the intensity of children’s perception, and numerous images will be confused in their minds and complicate the perception of new things.

3. Techniques for working with illustrations in textbooks during history lessons.
A means of clarity that is always at hand for the student is the illustrations in the textbook. They organically enter into its content, creating a specific visual image of historical facts. When viewing a textbook as a source of knowledge, students need to consider the information contained in the illustrations. When determining methods for students’ activities with a textbook in the classroom and at home, it is necessary to think through them in relation to illustrations.
The main work with illustrations is done in class. In the textbook for middle grades, illustrations are given for each paragraph and it is more convenient to work with them than with educational pictures. Using the picture in the textbook, it is easier for the student to understand all the details. You can, without breaking out of the general rhythm of the class, linger for a few moments on details that attracted special attention.
The illustrations in the history textbook are varied. These include schematic images of tools, drawings of weapons and household items, and images of architectural monuments, reproductions of works of art, plot and everyday compositions, portraits, caricatures, and documentary photographs.
Students should be taught to see illustrations not as “entertaining pictures,” but as an important, scientifically reliable source of knowledge. Not a single illustration related to the topic of the lesson should be left without attention.
During the presentation, the teacher addresses some as clear illustrations of his story, others he analyzes together with the students in order to explain the essence, the main features of the historical phenomenon, and still others he uses in order to form in students accurate and clear ideas about the historical fact (depiction of tools, weapons, etc.). Comparison of several illustrations depicting the same phenomenon in different historical periods allows us to trace their development (for example, a comparison of English residential buildings of the 13th and 16th centuries allows us to see changes during this period in the life of feudal lords and wealthy townspeople).
Some illustrations have only a brief caption (“Luther burns the papal letter of excommunication. 16th-century engraving,” “Taking of the Bastille, July 14, 1789”). Others are detailed comments. Detailed captions and assignments for illustrations are contained mainly in textbooks for middle grades and serve as a guide for students’ independent work in class and at home.
An important aspect of using textbook illustrations is the creation of a certain emotional mood. It is necessary to clearly think through which of the illustrations for this paragraph will be discussed in class, and which students will analyze while doing their homework. When explaining homework, it is necessary to give instructions for working with illustrations, to include questions in it, the answers to which can be obtained mainly from the illustrations. Examples of such tasks are contained in textbooks.

4. Conditional visibility in teaching history.
Conventional graphical visualization includes diagrams, graphs, diagrams, applications, and schematic drawings. They are used to form local ideas, identify the essence and connection of historical events, and their dynamics.
A schematic drawing conveys the most essential features of an object and contributes to the formation of concepts. In “the very nature of pedagogical drawing,” noted A.A. Vagin, “in its sketchy, constructive character there is a tendency towards generalization, a movement from objective clarity to a concept, from an image to an idea.”
A chalk drawing on a blackboard is made during the oral presentation and serves as its visual support. As a rule, this is a very simple, lively, swift drawing that recreates the image of material objects, people, military battles, and typical scenes of economic activity. With the help of a schematic image, the teacher reveals the phenomenon in its logical sequence, determining the pace and at the right moment interrupting or resuming the graphic series.
To create a realistic image for students, in some cases it is advisable to compare a schematic image with an illustration or photograph. Talking about the monumental monuments of Ancient Egypt, the teacher first shows a photograph of the pyramid, and then draws with chalk a diagram of the section of the pyramid, which shows the outer contour, the internal laying of the slabs, the structure of the burial chamber, and the passage to it.
Appliqués can be used in combination with the design. Translated from Latin, “application” means “attachment”, “attachment”. Applications are cut out along the contour of paper or cardboard and painted images of objects or representatives of various social groups typical of the era being studied: silhouette, in light colors, drawings of people, tools and weapons, animals, buildings; symbols of wider content compared to what is directly depicted. Thus, several stalks of papyrus near the water symbolize the deep-sea Nile, and the figurine of a warrior symbolizes a large army. Such symbolic images help create clearer ideas about the events and phenomena being studied.
Applications appear on the board and replace each other during the presentation process, helping to reveal the essential aspects of the facts and the sequence of events. The appearance of each new application concentrates students’ attention on a specific action and creates a visual image. They can follow the progress of military battles, understand the sequence of agricultural work, the features of manufacturing and industrial production. The effect is enhanced if the teacher attaches applications to metal board, turning them into actually dynamic models.
Thus, when talking about the battle on Lake Peipsi, the Battle of Kulikovo, Grunwald and Poltava, the teacher places figures made of plywood and equipped with a magnet, colored rectangles and other symbols on the “battle board”. As the story about the battle progresses, the teacher moves signs to show the dynamics of the battle.
Applications are most often used when teaching younger schoolchildren. They are placed in a certain sequence; it is also possible to combine applications with drawings.
In high school lessons, schematic images are more often used, when lines, arrows, squares, and circles appear on the board during explanations. These are elements of conditional graphical clarity.
This includes tables, diagrams, graphs, and logic diagrams. Schemes are a drawing reflecting the essential features, connections and relationships of historical phenomena. They are used to visually compare the phenomena being studied, to show the trends in their development, as well as to generalize and systematize historical knowledge. Diagrams make it possible to provide a visual representation of generalized concepts that help students learn the essential features of historical concepts. While explaining the material, the teacher sequentially writes down the content of the links on the board and indicates the connections between them. The gradual reconstruction of the schemes makes them easier to understand. Using a diagram, the teacher shows the chain of his reasoning, for example, about the Arab conquests.
Along with logical diagrams, diagrams are used in lessons. If the diagrams present homogeneous data of simultaneous action, then they are easily compared and analyzed, and their sequence is established. Heterogeneous information allows us to trace the dynamics and trends of development.
Working with diagrams develops in students the ability to see behind statistical material the development of social phenomena and to determine internal connections between them. Diagrams are also used to compare or contrast the phenomena or processes being studied that are limited in time. Diagrams make it possible to succinctly express complex processes. School history textbooks contain diagrams of various types: segment, circle, bar, curly; According to the main feature, they are divided into static and dynamic, reflecting the dynamics of homogeneous, data and heterogeneous phenomena.
Experience shows that students have little understanding of statistical data, do not always understand the language of numbers, do not connect digital material with socio-economic processes, and cannot establish development trends. Often they use digital data only to illustrate certain points.
In the educational process, you can highlight techniques for working with diagrams and graphs, depending on the purpose of the lesson and the type of diagram. Diagrams characterizing phenomena economic development, contain homogeneous data of simultaneous action. Assignments for students will be aimed at analyzing and grouping data, comparing them, and establishing the consequences of this process.
When using diagrams containing heterogeneous information in the dynamics of development, tasks are aimed at comparing data, tracking dynamics and establishing development trends:

5. Technical means and their use in teaching history.

These include static visual aids: screen (movies or film fragments, educational videotapes, filmstrips, transparencies, code positives), visual and audio (audio recordings, CDs, audio or computer). The industrial production of technical equipment allows them to be accumulated and stored in video libraries and used in combination with textbooks and teaching aids.
Filmstrips and transparencies are the most common and accessible means of on-screen visualization for teachers. In terms of coverage of historical events, variety of subjects, and richness of visual material, they surpass the entire range of other teaching aids.
The sequence of demonstration of transparencies is determined by the teacher himself. In a filmstrip, the logic of showing frames is sometimes embedded not only in the visual material, but also in the captions for each frame.
Based on frames of transparencies and filmstrips, the teacher can lead a story, explain, and analyze them in a conversation with the class (in these cases, filmstrips are shown with closed subtitles).
Recently, more and more filmstrips have appeared that contain questions and assignments and allow students to independently analyze and explain images that are new to them. These primarily include filmstrips for repeating and generalizing lessons.
The school's practice is increasingly incorporating an overhead projector. It is designed for projecting texts, schematic drawings, drawings, diagrams, etc. on a transparent film onto a screen or chalkboard.
Several banners that gradually recreate a drawing, diagram, diagram, etc. by sequentially overlapping each other make the image more dynamic and allow one to show the change and development of historical phenomena. Demonstration using an overhead projector does not require darkening. Therefore, you can simultaneously work with other visual aids and keep notes in notebooks. When working with an overhead projector, the teacher faces the class and does not lose contact with the students.
Movies and television shows have a number of common features in teaching history. They are dynamic. In them, image and word are presented in unity. They allow you to convey extensive information in a short time, “bringing” documentary material to the lesson that students cannot get acquainted with in class using other sources. Only from a film or television screen directly in class can schoolchildren find themselves in the center of dramatic events of the distant past, hear the living voices (performed by actors) of their witnesses and participants. This is achieved by including fragments from feature films, theatrical productions or specially staged dramatic scenes in educational films and television programs. TV shows are more relevant than films.
First of all, the teacher is required to know the content of the film and the program. Without this, he will not be able to organically include them in the system of his work. At a minimum, it is necessary to clearly understand how well a film or television show corresponds to the curriculum, how its content relates to the material in the textbook, and how successfully, accessible and completely it conveys the educational material. The inclusion of a film fragment or TV insert into a lesson requires precise “docking” with previous work in the lesson, bringing their content into the subsequent course of the lesson. The teacher needs to clearly understand what function a film fragment or TV insert will perform in the process of learning (to fully reveal one of the questions of the lesson, to illustrate the presentation of the material or to supplement it with new information important for mastering the topic, to pose a problem, to create a problem situation that must be solved by students in during subsequent learning of new material).
Based on the objectives of the lesson, the content of the educational film or TV show, taking into account the information that students will receive from the textbook, as well as their existing knowledge and skills, tasks are developed that mobilize students to work during the film or TV lesson. First of all, they need to be prepared to receive information from the screen: explain what information they should glean (without disclosing the content), why this particular source of information was chosen for this lesson, what its advantages are, formulate the task that is performed while watching a film (TV show) ) or in subsequent work.
While watching an educational film or television program, the teacher draws the students’ attention to the most important frames with separate remarks, briefly explains unfamiliar terms, and records them on the board. geographical names, names of historical figures, digital data that schoolchildren must remember, observes whether all students carefully follow the events on the screen and complete the proposed task. After watching a film or TV show, the teacher answers students’ questions, makes the necessary explanations, and checks their results. independent work, gives a task for further work according to the content of the educational film (TV show) watched.
After the lesson, the teacher analyzes it for himself in order to record successful moments, think about overcoming shortcomings when conducting a film or television program (usually the same television program, especially if it does not concern the history of our country and other states in modern times, with relatively small changes are demonstrated for next year),
Sources of knowledge and strong emotional and moral influence are radio broadcasts and recordings made on gramophone records and magnetic tape.
The techniques for using audio aids have much in common with the use of dynamic screen aids. Listening to recordings and magnetic recordings in lessons is often combined with the display of educational and artistic historical paintings and portraits.
The computer and computer programs that reproduce the most essential features of historical eras and sociocultural complexes have great potential for simulating historical reality. By forming vivid and voluminous ideas about the past, they create the illusion of presence when the student travels with any hero of the program in geographical space and time. Moving along various semantic and associative lines, he monitors the development of events, intervening in their course and solving problems. He is given the opportunity to meet historical figures, get acquainted with the economy, life, and customs of the peoples of ancient civilizations.
The computer provides enormous opportunities for modeling historical processes, as well as for working with a database - a huge amount of information stored in a form suitable for automatic processing. It is easy for the student to search, systematize and process historical information. In the process of work, events are easily remembered, as well as historical and geographical names, names, and dates.
Thus, while studying the history of Russia in the 19th century, students can work with statistical data on the problem of post-reform development of Russia. The educational database on agrarian history is based on materials from the first post-reform land census of 1877 and contains information about the class affiliation of the owners, the size of land holdings, and forms of ownership in each of the 49 provinces of the European part of Russia.

Bibliography
1. Vagin A. A. Methods of teaching history in secondary school. - M., 1968.
2. Gora P.V. Methodological techniques and means of visual teaching of history in secondary school. - M., 1971.
3. Methods of teaching history in secondary school. - M., 1986.
4. Nikiforov D.N. Visibility in teaching history. - M., 1964.
5. Studenikin M.T. Methods of teaching history at school. – M., 2000.

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Introduction

Chapter I. Visualization of learning as a means of activating the educational process

1.1 Psychological justification for visibility

1.2 Didactic justification for visibility

1.3 Factors of visualization of training

Chapter II. Methods of using visual teaching aids in history lessons

2.1 Classification of visual teaching aids

2.2.1 Working with chalk and blackboard

2.2.2 Using diagrams and tables

2.2.3 Working with paintings

2.3 Using visual teaching aids in the lesson “History of Ukraine” (9th grade)

Conclusion

Literature

Introduction

The State Program “Education” (“Ukraine of the 21st century”) highlights a strategy for the development of education for the coming years and for the future, outlines a course towards creating a viable system of continuous education and upbringing, ensuring the possibility of spiritual self-improvement of the individual, the formation of intellectual and cultural potential as the highest value of the nation .

The principle of learning, reflecting one historical aspect of the learning process, becomes the basis for the formation of learning rules.

The topic “Use of visual teaching aids in history lessons” is relevant and requires careful study, due to the fact that the current program “History of Ukraine. World History, grades 5-12” sets the following goals and objectives for the history teacher:

Make the learning process motivated and purposeful;

Organize self-monitoring of students’ individual progress;

Include additional internal reserves and additional methodological techniques to improve the results of educational activities;

Intensify scientific activities.

Achieving the educational results provided for by this program is possible only if we combine active and interactive forms, methods and technologies for organizing the cognitive activity of students in both domestic and world history lessons.

Visual teaching is one of the most important methodological techniques, a powerful activator of educational activity, the study of which will help the teacher achieve high results.

Therefore, the object of this study is the organization of the learning process for children in history lessons at school.

The subject of the study is visibility in history lessons.

The purpose of the course work: to study the effectiveness of using visual aids in history lessons; their influence on the accessibility and quality of knowledge acquired by students.

Tasks that need to be solved to achieve the goal:

Consider the psychological and didactic justification for visualization.

Reveal the methodology for working with visual teaching aids in history lessons.

To study the influence of visual aids on students' work in the process of learning history.

Draw conclusions about how visibility affects improving the learning process, increasing the quality of knowledge and students’ interest in studying history.

The following methods are used in this work:

Deductive, when particular provisions are derived from general ones. So from the psychological works of Maslow A.G. and Zimnyaya I.A. a statement is made about the influence of clarity on the perception and assimilation of educational material in history lessons.

Analysis in which a general situation is divided into its component parts. In this work, all visuals are divided into three groups, i.e. a classification of visual teaching aids is given.

Synthesis, which consists of conducting research as a whole, based on combining interconnected elements into a single whole.

The examples of lessons using visual aids given in the work are a generalization of the experience of methodologists and teachers who studied this topic: Ushinsky K.D., Znakova L.V., Vagina A.A. (“Methods of teaching history in secondary school”), Korotkova M.V., G.K. Selevko (“Modern educational technologies”) and others.

The hypothesis of the work is as follows - let us assume that optimization of the use of visual aids is achieved when working with various types of visual aids, as well as in various combinations of them, and is an important methodological component of teaching the history of Ukraine.

The scientific novelty of this research lies in the constant need to introduce modern technologies into the learning process and use them as visual aids. Scientific work can be used as additional material in preparation for Ukrainian history lessons in secondary schools.

The work consists of an introduction, two chapters and a conclusion. In Chapter I, the main support is the works of outstanding pedagogical figures Ya.A. Kamensky and K.D. Ushinsky, who were the first to understand the essence of visual teaching and develop methods of working with visual aids.

Chapter II is entirely devoted to revealing techniques for working with visual teaching aids: working with chalk and a blackboard; use of tables and diagrams; working with paintings; use of cartographic material; application of layouts.

The sources for this chapter were: a manual on the methodology of M.V. Korotkova, book “Methods of teaching history in secondary school” by A.A. Vagin; G.K. Selevko “Modern educational technologies” and others.

CHAPTER I. VISUALITY OF LEARNING AS A MEANS OF ACTIVATING THE EDUCATIONAL PROCESS

Visual learning is such learning in which ideas and concepts are formed in students on the basis of direct perception of the phenomena being studied or with the help of their images. From the early stage of consciousness to the highest, concepts and abstract propositions are easier to comprehend if they are supported by concrete facts and images.

By using visualization, the initial stage of cognition is activated. Therefore, we need to consider the impact of visibility on cognition.

1.1 Psychological justification for visibility

Visibility is a property that expresses the degree of accessibility and understandability of mental images of objects of knowledge for the knowing subject; one of the principles of learning. In the process of creating an image of the perception of an object, memory and thinking are involved along with sensation. The image of a perceived object is visual only when a person analyzes and comprehends the object, correlates it with the knowledge he already has.

A visual image does not appear on its own, but as a result of a person’s active cognitive activity. Images of representation differ significantly from images of perception. In content they are richer than images of perception, but different people they differ in clarity, brightness, stability, and completeness. The degree of visual images of representation can be different depending on the individual characteristics of a person, on the level of development of his cognitive abilities, on his knowledge, as well as on the degree of visual initial images of perception.

There are also images of the imagination - images of objects that a person has never directly perceived. However, they are composed, constructed from elements of images of perception and representation that are familiar and understandable to him. Thanks to the images of the imagination, a person is able to first imagine the product of his labor, and only then begin to create it, imagine various options for his actions.

Sensory cognition gives a person primary information about objects in the form of their visual representations. Thinking processes these ideas, identifies essential properties and relationships between different objects, and thereby helps create more generalized, deeper in content mental images of cognizable objects.

The importance of visualization in teaching history is not limited to the sphere of sensory contemplation and the formation of specific ideas. The use of visual aids facilitates the understanding of complex historical concepts.

1.2 Didactic justification for visibility

Visualization as a principle of learning was first formulated by Ya.A. Komensky, and later developed by I.G. Pestalozzi, K.D. Ushinsky and other teachers. The teacher can use various means of visualization: real objects, their images, models of the objects and phenomena being studied. Knowledge of the forms of combination of words and visual aids, their variants and comparative effectiveness enables the teacher to creatively use visual aids in accordance with the assigned didactic task, the characteristics of the educational material and specific learning conditions.

Visibility in teaching contributes to the fact that schoolchildren, thanks to the perception of objects and processes in the surrounding world, form ideas that correctly reflect objective reality, and at the same time, the perceived phenomena are analyzed and generalized in connection with educational tasks.

K.D. Ushinsky noted that listening to material is a difficult task, requiring concentrated attention and volitional efforts from students. If the lesson is not taught skillfully, students can only be externally “present in class”, but internally they can think about their own things or remain completely without “thoughts in their heads”.

The use of visual aids not only to create figurative ideas in schoolchildren, but also to form concepts, to understand abstract connections and dependencies is one of the most important principles of didactics.

Sensation and concept are different stages of a single process of cognition. Also Y.A. Comenius put forward the “golden rule”: “everything that...is possible should be left to the senses for perception...”. The requirement that students gain knowledge, first of all, from their own observations, played a big role in the fight against dogmatic, scholastic teaching. However, the limitations of the sensationalist philosophy on which Comenius relied did not allow him to reveal the principle of visual teaching with the necessary completeness and versatility.

The principle of clarity was significantly enriched in the works of G. Pestalozzi: “All learning should be based on observation and experience and rise to conclusions and generalizations.” As a result of observations, the child receives visual, auditory and other sensations that awaken in him thoughts and the need to speak. Education contributes to the accumulation by the student of a stock of knowledge based on his sensory experience and develops his mental abilities. It is necessary to “intensively increase the powers of the mind, and not just extensively enrich oneself with ideas.”

Without the use of visualization, in the broad sense of the word, it is impossible to achieve correct ideas about the environment and develop thinking and speech.

Defending the need for visualization in learning, Pestalozzi believed that the senses themselves provide us with random information about the world around us. Education should eliminate confusion in observations, differentiate objects, and connect homogeneous and similar objects again, that is, form concepts in students.

In the pedagogical system K.D. Ushinsky, the use of visualization in teaching is organically connected with teaching the native language. Ushinsky believed that the best way to achieve children's independence in the process of developing the gift of speech is visualization. It is necessary that the object is directly perceived by the child and that, under the guidance of the teacher, “... the child’s sensations are transformed into concepts, from concepts a thought is formed, and the thought is clothed in words.”

In modern didactics, the concept of visibility refers to various types of perception (visual, auditory, tactile, etc.). None of the types of visual aids have absolute advantages over the other. When studying nature, for example, natural objects and images close to nature are of greatest importance, and in grammar lessons - conventional images of the relationships between words using arrows, arcs, by highlighting parts of the word in different colors, etc. It often becomes necessary to use different kinds visual aids when familiarizing yourself with the same issues. For example, in a history course, it is advisable to consider objects that have survived from the era being studied, models and paintings depicting relevant phenomena, historical maps, watch films, etc.

It is very important to use visual aids purposefully and not to clutter up lessons with too many visual aids, as this prevents students from concentrating and thinking about the most important issues. This use of visualization in teaching is not beneficial, but rather harms both the acquisition of knowledge and the development of schoolchildren.

When students have the necessary figurative ideas, they should be used to form concepts and develop abstract thinking. This rule applies not only to middle and seniors, but also to primary classes.

In teaching practice, the use of visual aids is combined with the teacher’s word. The ways of combining words and visual aids, with all their diversity, constitute several basic forms. One of them is characterized by the fact that, through the medium of words, the teacher directs the observation carried out by students, and schoolchildren receive knowledge about the external appearance of an object, its structure, and ongoing processes from the observed objects.

For example, in the lesson “Life of the Stone Age” the teacher says: “This is a flint knife. Look at it carefully. What are the physical properties of this object? “A flint knife is a sharpened stone, light gray in color,” the student answers. “Look how sharp it is,” the teacher addresses the class, pointing to the blade. - “It is sharpened by another stone,” the schoolchildren note.

In another form of combination, which differs sharply from the one just described, students receive information about objects and processes from the teacher’s verbal messages, and visual aids serve to confirm or concretize verbal messages. In this case, in a lesson devoted to the same topic (“Stone Age”), the teacher himself talks about the physical properties of material culture and shows these properties.

The first of the mentioned forms of combination is more effective not only for the acquisition of knowledge, but also for the development of schoolchildren’s observation skills. The superiority of the first form is especially pronounced when a subtle analysis of the object must be carried out, for example, when studying the internal structure of a leaf. Since the use of another form of combination requires less time, it can be used when a relatively “rough” analysis of objects is performed.

1.3 Factors of visualization of training

1. The visibility of learning stems from the fact that it acts as a means for students to understand the world around them, and therefore this process occurs more successfully if it is based on direct observation and study of objects, phenomena or events.

2. The cognitive process requires the inclusion of various organs of perception in the acquisition of knowledge. K.D. Ushinsky wrote that knowledge will be stronger and more complete the more different sense organs it is perceived by. The more sense organs take part in cognition, the more impressions appear in consciousness, which then go into mechanical memory and are more easily recalled in the future.

3. The clarity of learning is based on the characteristics of children’s thinking, which develops from the concrete to the abstract. In the early stages, the child thinks more in images than in concepts. On the other hand, concepts and abstract propositions are easier for students to comprehend if they are supported by concrete facts. However, even at higher stages of development, thinking cannot be divorced from specific facts and images.

4. Visualization increases students’ interest in knowledge and makes the learning process easier. Many complex theoretical concepts, with the skillful use of visualization, become accessible and understandable to students.

“Teach a child some five unknown words, and he will suffer for a long time and in vain over them; but connect twenty such words with pictures - and the child will learn them on the fly,” teaches K.D. Ushinsky.

CHAPTER P. METHODOLOGY FOR USING VISUAL TEACHING MEANS IN HISTORY LESSONS

A modern history lesson must meet a number of requirements:

1) compliance of the lesson content with the level of development of historical science and the objectives of educational work;

2) clarity of the purpose of the lesson in the inextricable unity of educational, educational and developmental tasks. A motivated teacher can pay primary attention to one aspect of the lesson, based on the characteristics of its content, the level of knowledge and skills of the class, but at the same time, other aspects must be implemented to one degree or another;

3) determination of the main, essential for each lesson, so that it is understood and learned by all students in the class. Currently, determining what is essential for each individual lesson is a key problem. Determining what is essential requires the teacher to establish the value and significance of the various elements of the curriculum material for the purpose of personal development in the learning process, taking into account the actual conditions in each classroom;

4) an appropriate choice of tools and methodological techniques for each part of the lesson;

5) organization of active cognitive activity of students.

When conducting a lesson of any kind, it is necessary to ensure it

thematic integrity and completeness, i.e. organic unity of all its elements (testing knowledge, repetition, learning new material, etc.), and, at the same time, a certain completeness in revealing the topic of the lesson, the connection of each given lesson with previous and subsequent ones.

An important requirement for a lesson is the teacher’s ability to provide motivation for learning, i.e. arouse students' interest in the content and methods of work, create a creative, emotional atmosphere in the classroom.

The emotional atmosphere in the lesson is created by the teacher’s living word, colored with human feeling, and by an interesting document, educational film, etc. They increase students’ interest in the lesson and help create vivid imaginative ideas about the era being studied, the life of the masses and historical figures.

Genuine interest in the lesson, an emotional attitude towards what is being studied are created not only by presenting vivid material about historical events, but also by creating a problematic situation, setting an interesting educational and cognitive task, by stimulating the students’ personal attitude towards the facts being studied.

2.1 Classification of visual teaching aids

The principle of visualization of learning is an orientation toward the use of various means of visual presentation of relevant educational information in the learning process.

In modern didactics it is argued that the principle of visibility is a systematic reliance not only on specific visual objects (people, animals, objects, etc.) but also on their images and models. Due to the many types of visual teaching aids, there is a need to classify them. One of the common classifications used by methodologists is the classification according to the content and nature of the material depicted. She divides visualizations into three groups. 1. Visual clarity, in which a significant place

occupy:

Working with chalk and blackboard;

Reproductions of paintings;

Photo reproductions of architectural and sculpture monuments;

Educational paintings - specially created by artists or illustrators for educational texts;

Drawings and applications;

Video clips;

Audio fragments;

Video films (including audio and video clips).

2. Conditional graphical clarity, which is a kind of modeling, which includes:

Tables;

Block diagrams

Diagrams;

Charts;

Maps;

Tablets.

3. Subject visibility, which includes:

Museum exhibits;

This classification is the most optimal for using visual aids in the classroom.

The teacher can use various means of visualization: real objects (objects, phenomena, processes), their images (photographs, drawings, transparencies, tape recordings, videos), with the help of which events, phenomena, processes that are not directly observable can be made clear to students and models of the objects and phenomena being studied.

2.2 Methodology for working with visuals in history lessons

Let's consider some of the types of visual aids provided for by the above classification.

2.2.1 Working with chalk and blackboard

Chalk art connoisseur B.C. Murzaev was a history and drawing teacher. In his book “Blackboard Drawings in Teaching History,” which has become a bibliographic rarity, he wrote: “In this small and modest piece of white chalk, which the teacher holds helplessly in his hand, great and unexpected possibilities lurk.”

Chalk drawing has entered the methodological arsenal of history teachers, thanks to its clarity, speed, and great time savings in the lesson. Unlike ready-made diagrams and maps, a chalk drawing appears before the eyes of students as the presentation progresses. This makes the process of perceiving the material much easier. Since the chalk drawing or drawing develops before the eyes of the students, it contains enormous opportunities for activating attention.

The teacher's drawing on the board usually serves as an example to follow; children make sketches in their notebooks instead of notes. This work teaches you to distribute attention, switch it from observation to a graphic image, which promotes active memorization of the material.

A chalk drawing is effective for showing the dynamics of a historical phenomenon or event - its emergence, change and development. The chalk drawing allows us to highlight the stages of this development. It is also used when it is necessary to isolate certain elements or details from a complex complex or image. Thus, it helps to reveal the essence of complex historical phenomena, identifying and fixing the main idea of ​​the material being presented.

Sketch drawing of B.C. Murzaev suggested using it in the following cases. Firstly, to recreate images of the nature of a particular country, the so-called “chalk landscapes”. Secondly, make drawings-images that reproduce tools, household items, buildings, structures, weapons, etc. Such drawings should be used in cases where the teacher wants to emphasize details, reveal their structure, show artistic value, highlight the difference in objects and create ideas about their typicality.

Pedagogical drawing is associated with diagrams, because schematicity is inherent in its very essence. Schemes are usually understood as a drawing that reflects the essential features of historical phenomena, their connections and relationships, the arrangement of various material objects, the interaction of their parts, the placement of objects and people on the ground.

P.V. Gora identified the following types of schemes:

1. Technical diagrams showing the structure of material objects.

2. Local diagrams showing movement on the ground.

3. Schematic plans - static location of objects on the ground.

4. Logical diagrams that help identify cause-and-effect relationships.

5. Graphs and diagrams reflecting the quantitative and qualitative relationship of phenomena and processes, the pace and trends of their development.

Maps, local diagrams and plans - these are plans of cities and battles - help to imagine the area and study natural conditions in order to gain a deeper understanding of historical events and phenomena. Unlike maps, they convey the spatial relationships of historical phenomena on a much larger scale: this makes it possible to study them in more detail. But such drawings should not be cluttered with multiple details so that children remember the essence. Then, when highlighting the most important thing in a drawing, children quickly translate graphic signs into visual images of nature and terrain, into concrete forms of real space and movement.

However, such diagrams and drawings are sometimes not enough to graphically demonstrate a particular idea. For example, it is useful to accompany chalk drawings of a cartographic plan with so-called cross-sectional diagrams, demonstrating the differences in the natural conditions of countries. Historical maps are different from geographical maps. The colors of geographic maps familiar to students take on a different meaning on historical maps. Green shows not only lowlands, but also oases, as well as ancient areas of agriculture and cattle breeding. Another feature of historical maps is the disclosure of the dynamics of events and processes. It is easy to see the emergence of states and changes in their territories or the routes of movement of troops, trade caravans, etc. .

It is advisable to use chalk drawings in the study of socio-economic and cultural phenomena. A lesson devoted to the emergence of a feudal castle or city usually talks about the various ways they appeared in medieval Europe and Ukraine (defensive architecture of the 13th – 17th centuries). We can offer another option. Students are presented with a chalk drawing of different types of terrain, and possible points of appearance of the castle are outlined. Children act as “feudal lords” and each choose their own place for the castle, explaining the reasons for their choice.

Images of tools became classic chalk drawings. Working with chalk drawings is accompanied by questions for conversation:

1. What is the difference in the design of these tools?

2. Which one is technically more advanced and why?

3. What is a ploughshare, cut, blade?

4. How were they used in cultivating the land, and what role did they play?

During the conversation, the teacher may note that the roe deer plow turned over the layer, plowing up the manure. The layers of earth are cut by a cut - a knife, which is set to the required depth. The ploughshare cuts layers of earth in a horizontal direction, the blade turns over and loosens the layers.

It is advisable to use original chalk diagrams and drawings when studying trade. They combine essential knowledge about the items being traded, as well as the location of the items being traded in relation to each other. For example, showing the chalk drawing “Trade Route along the Dnieper” along with the map, the teacher notes the profitability of trade routes through the lands of Kievan Rus, along the Dnieper riverbed. Similar patterns can be demonstrated when studying other countries - Ancient Greece, Rome, Ancient Egypt.

Thus, chalk diagrams and drawings are an inexhaustible reservoir of creativity for a modern teacher. Although drawing on the board is a labor-intensive teaching tool for the teacher, it pays off a hundredfold in the students’ mastery of the material.

2.2.2 Using tables and diagrams

Charts and tables are means of highlighting the main thing; they “lock” information into a closed space. When compiling diagrams and tables, the student performs logical operations: analysis, synthesis, comparison, the ability to transform and generalize historical material, bring it into a system and graphically depict it.

However, despite all the similarities, diagrams and tables have clearly defined differences.

A diagram is a graphic representation of historical reality, where individual parts, signs of a phenomenon are depicted conventional signs: geometric figures, symbols, inscriptions, and relationships and connections are indicated by their relative position, connected by lines and arrows.

A table is a graphic representation of historical material in the form of comparative, thematic and chronological graphs for the purpose of filling them out by students, a synthetic image of the topic being studied. In the table, unlike diagrams, there are no symbols of historical phenomena.

Traditionally, in the methodology of teaching history, the following types of schemes are distinguished: logical, essential, sequential, diagrams, graphs, technical, local. Tables are divided into thematic, comparative, chronological and synchronistic.

Logic. They are usually used to study the causes and consequences of events and phenomena and help identify cause-and-effect relationships. They are quite simple for students to perform, since they are based on a sequential connection of squares in which the causes and consequences that follow from one another are recorded.

Structural diagrams usually reflect the structure, main parts, features and essence of a phenomenon. They can reflect the names of tribes, the main occupations of residents, classes, expenses and income of the state, and the national-governmental structure of the country.

When studying political events and phenomena, you can also use layout diagrams. Traditionally, history teachers designate the balance of political forces as right, left, and center. E.H. Zakharova gives three models of the balance of power in 1917 in Ukraine and suggests choosing the right one. The methodologist proposes to depict the balance of political forces in the form of scales that outweigh the parties.

Schemes are diagrams that can emphasize the quantitative and qualitative aspects of the events and phenomena being studied. They are divided into columnar and circular. The use of colored chalks is considered useful for drawing diagrams and graphs on the board. These tools can be used, thereby checking the students' knowledge system.

The system of highlighting the main points in historical material by demonstrating or filling out diagrams and tables is an important part of the system of teaching history. The examples considered are not the only ones possible for use in the lesson.

visibility lesson history training

2.2.3 Working with paintings

A.A. Vagin identified several types of historical paintings:

Evental, reflecting unique historical facts-events that occurred only once,

Typological, reflecting repeatedly repeated historical facts and phenomena,

Descriptive paintings with images of cities, buildings, ensembles, architectural monuments and historical portraits.

The methodology for teaching history highlights the main stages of working on a painting. They boil down to the following: first, preparation for the perception of the picture is required, usually it is accompanied by a message about the title and author, and a note about the meaning of its demonstration. This is followed by the initial perception of the picture, which is answered by the questions: “What? Where? When?" This is followed by an understanding of the individual details of the picture and their analysis. Next is an enriched understanding of the whole picture: a generalization based on established connections between individual parts and conclusions from the analysis of details.

Today, mainly illustrative material from textbooks is used, in particular, historical paintings. In the theory of the school textbook and methods of teaching history, several types of illustrations are identified according to their connection with the text of the textbook and according to the methods of working with them.

Additional illustrations serve either as a visual explanation of the text, as if following it, or the image complements the material, refers to the text in order to clarify the incomprehensible in a visual image. Thus they complement each other.

In terms of their semantic load, illustrations can also perform a function equal to the text: then they are called equal. They fill in material missing from the text.

Illustration can also act as an independent source of knowledge extraction. Then it is called independent. The most valuable illustrations, in terms of developing the cognitive activity of schoolchildren, are independent and equal illustrations.

One of the artists whose works are included in the course of Russian history is A.M. Vasnetsov.

It is no coincidence that the canvases and watercolors of A.M. Vasnetsov always form an integral part of the illustrations in textbooks on Russian history: they are not

They not only create a visually memorable image of cities, but also encourage the student to answer the question and read additional literature about the life of compatriots in the past. The artist himself was a research scientist. He painted typological and descriptive pictures.

Such paintings can be used as a visual support, for example, to record and figuratively indicate a date. In this case, the painting “Construction of the first walls in 1156” is used.

Another option for working with paintings is material illustration: the teacher examines the painting “Pottery Workshop”, adhering to the sequence of operations that make up the production of pottery. He first draws students' attention to two people kneading and washing clay, then to a group working on a potter's wheel, to craftsmen painting products, to a pottery kiln, and to a scene of finished products being sold. Now you can ask students:

In what city is this workshop located - in the center or on the outskirts of Kyiv?

How can you justify your answer?

During the conversation, children should not be told in advance who is a slave in the workshop and who is a free master. Schoolchildren will determine this themselves based on the nature of the work and on the basis of differences in clothing. And then draw a general conclusion:

Who worked in the workshop?

What kind of work did slaves do?

What is their situation?

Thus, general rule The methodology for working with a painting is based on the patterns of perception and comprehension of visual material, and does not at all mean a formulaic analysis of the painting. General formula sequence of analysis of the picture: from the main thing to the details, from the whole - to the parts and again - to the whole.

An artist’s painting can act in a lesson in various roles: as a visual support, a materialized illustration, an emotional effect, an object for identifying details, an independent source of new knowledge, a means of modeling circuits. It can also help to recreate the image of an era, clarify the real picture of historical events, and become a source of “identification” of characters and creative interpretation of the material. All this makes the picture a fairly productive means of visualization.

2.2.4 Use of cartographic material

Currently, schools are poorly equipped with maps. The predominant maps are made on the basis of the old methodology and are devoted mainly to territorial changes, political processes in the state or military events.

No more than a dozen maps reflect new approaches to the content of historical material. They depict religious processes, economic and demographic development of regions, cultural achievements of countries and peoples.

Of the three types of historical maps (general, overview and thematic), today the latter clearly prevail.

Thematic maps are dedicated to individual historical events and phenomena, many of them are stripped of unnecessary details and symbols, but contain visually artistic symbols of the events being revealed (war, domestic politics).

General, and especially overview maps, began to be used much less frequently. Their use has changed. Now, in a number of topics, overview cards are presented in a set of two to three pieces. They reflect a number of successive moments in the development of the study of phenomena and their states at a certain moment. This allows you to avoid overloading cards with information.

Today, the teaching of history uses schematic maps differently. Local plans and maps were previously annexes to large maps. They were designed to detail individual fragments of a large map. Today, in many manuals, map diagrams have become independent. They represent not only the details of military history, but also centers of culture and cultural and ethnic processes.

However, such atlases are not available to many schools due to their high price.

It is also characteristic of today that cartographic material is accompanied by illustrated rows, text and chronological materials.

The formation of cartographic knowledge and skills in schoolchildren begins with simple action- acquaintance with individual countries. Then the history of the united world in a given period is studied.

The map becomes one of the most important means of extracting the essence of knowledge. At the final stage, schoolchildren rise from knowledge of historical topography and the ability to navigate it to an understanding of the dynamics of the geopolitical position of states and civilizations.

One of the most important areas in working with a map is teaching the student how to navigate it. It includes searching for the right objects, displaying them correctly based on precise landmarks, and pronouncing them verbally. As reference points when showing on the map, you need to use objects familiar to children: cities, rivers, seas, parts of land. A useful methodological technique in this work is “travel on the map”: the children are asked to follow the flow of rivers, cross countries and continents, sail in the seas and oceans.

Describing the technique of localizing historical events on a map, i.e. Attributing them to a specific place, it is necessary to identify the accelerating or retarding influence of the geographical environment. For example, the role of land and river trade for Ancient Rus'. A small illustration or application will help you get a clear idea of ​​this. This method is called "revitalizing" the map. Attaching silhouettes and figures helps to remember places of historical events. Moving them around the map is also useful. For example, the path of Svyatoslav’s conquests to the Oka and Volga, to the Bulgarian kingdom. With the help of a “live” map, the teacher has the opportunity to highlight and emphasize the necessary elements of the historical map, focusing the attention of schoolchildren on the most important objects.

The ability to navigate on a map involves assessing the relative position of objects, distances, and areas. To do this, you need to teach schoolchildren to use the map scale.

While working with the map, the student must be able to use the map legend. Deciphering cartographic information is achieved through lengthy exercises.

Using the map scale and legend is a big challenge for students. There is a system of generally accepted notation for this. This makes the students' work much easier.

Modern methods are based on the fact that legends and maps that change in historical time are better absorbed by students if they themselves participate in their creation. Students enjoy drawing symbols. Such work accustoms children to the idea that having different approaches to displaying history on maps is normal.

In this sense, other techniques and exercises are also useful. Schoolchildren are offered two identical cards, but with symbols of different legends. They need to label the cities, country, tell the time and title the map. Maps with identical contours represent different economic processes, so the map legends are also different.

However, this work must be approached wisely, without violating the so-called principle of “didactic refraction” of the map. One of the most important conditions is the coordination of various map legends, scales, thematic accents, and color schemes.

The most important skill, besides orientation, is reading the historical information in the map itself, for it is an important and special source of knowledge about the past. Based on the information extracted from the map, the teacher teaches children to analyze, compare maps and perform transformative tasks.

For example: “Based on the analysis of maps on the history of the First World War, write briefly about the results of each year and comment on the assessments of the war campaigns based on the cartographic information obtained.”

The object of analysis can be not only a map, but also a map diagram. This tool must be freed from unnecessary parts. It is intended to reveal only those essential points, without the assimilation of which it is impossible to assimilate the essence of events, therefore methodologist A.A. Vagin called them “an algebraic reflection of the course of events.”

They mainly use military-themed maps. The student is attracted to the idea of ​​a military operation, its design, and the development of the maneuver. During the analysis of the map diagram, the children connect the various stages of the battles into a single whole, group the map diagram drawings, indicating the battle with letters, and the successive stages of the battles with numbers.

For example:

1. What stages of the Battle of Poltava are reflected in several diagrams?

2. Fill in the legends for them.

3. Determine the place where the troops of Peter I and Charles XII were at each moment of the battle presented in the map.

In high school, problematic map assignments are also associated with critical analysis of maps. The method of critical analysis of maps is close to scientific criticism of sources, and therefore difficult for schoolchildren. Students become convinced that maps do not reflect history in general; the author of any map is based on his own vision of the past. At this stage it is useful to compare maps published in Ukraine, Russia and Western Europe, in different countries and regions. Children are convinced that a map can make politics. .

The analytical (he also calls it deductive) is based on the integrity of the map; the method consists in analyzing and parsing the completed historical map. In this case, children have the opportunity to consider various elements maps in their entirety and in a semantic relationship.

The synthetic (or inductive) way of getting to know the map, in his opinion, to some extent reproduces the process of creating a historical map. Schoolchildren receive a blank contour map or film, then a “geographical background” is superimposed on it, then boundaries are drawn, then it is turned into a thematic map, the necessary objects are drawn, and then inscriptions for them. In this way, children dissect cartographic layers and become convinced of the diversity of cartographic information. That is why in a lesson a history teacher needs to use different maps and different techniques for working with them.

2.3 Using visual teaching aids in the lesson “History of Ukraine” (9th grade)

Topic: “Socio-economic situation of Western Ukrainian lands in the second half of the 19th century. Formation of market relations" (lesson 1).

The purpose of the lesson:

The natural nature of the exchange of goods that developed in the second half of the 19th century. between Western Ukrainian lands and the Austrian Empire;

Forming in students the skills and abilities to trace the cause-and-effect relationships of historical processes;

To foster a respectful attitude among students towards the successes in economic development achieved by previous generations.

Equipment: textbook, historical and ethnographic map of Ukraine, contour maps.

Lesson structure

1. Organizational moment.

2. Updating basic knowledge and skills.

3. Studying new material.

a) Reforms in the Austrian Empire and changes in the administrative and political structure of Western Ukrainian lands.

b) The influence of the agrarian reform of 1848. for economic development. Changes in agriculture.

c) The beginning of labor emigration of Ukrainians.

4. Consolidation of new knowledge and skills.

5. Lesson summary.

6. Homework.

During the classes

I. Organizing time.

II. Updating the basic knowledge and skills of students.

Review conversation.

1. What was characteristic of the development of socio-economic relations in Western Ukrainian lands during the first half of the 19th century?

2. What were the main trends in the economic development of Western Ukrainian lands in the first half of the 19th century?

After listening to the students' answers, the teacher draws a conclusion: the revolutionary events of 1848-1849. in the Austrian Empire led to profound changes in the position of Western Ukrainians. The revolution affected all aspects of life, but agriculture remained the leading industry. The lack of agricultural land gave rise to negative social consequences.

1. Reforms in the Austrian Empire and changes in the administrative and political structure of Western Ukrainian lands.

After the revolution of 1848 The period of the “Bach reaction” began in the Austrian Empire. In the 60s Political reforms began to mature in the country. The Constitution, adopted in 1867, proclaimed the equal rights of citizens in government institutions, courts and schools. In 1868, the unitary Austrian Empire was transformed into the dual Austro-Ugric Empire.

Changes in the situation of Western Ukrainian lands.

Eastern Galicia continued to be governed by an Austrian governor (he was appointed from among the Polish magnates), and the region received limited internal autonomy. In 1861 The Galician Regional Sejm began its work in Lviv. Eastern Galicia continued to be part of the Kingdom of Galicia and Lodomeria. Northern Bukovina had internal self-government - the Sejm, which was dominated by Romanians and Germans. Transcarpathia became part of the Ugorshchyna without receiving any self-government.

Working with a contour map.

Mark the borders of Eastern Galicia, Northern Bukovina, Transcarpathia.

2. The influence of the agrarian reform of 1848 for economic development. Changes in agriculture.

Teacher's story.

Agrarian reform of 1848 in Western Ukrainian lands she freed the peasants and freed the peasants from the remnants of serfdom. For the abolition of the panshchina, the landowners received monetary compensation: part from the state, part from the peasants. The land issue was also resolved in favor of the landowners. In accordance with the agrarian reform of 1848. The peasants were supposed to retain the lands that they used before the reform. As a result, 44% of the land area ended up in the hands of the landowners of Eastern Galicia, 54% of Bukovina, and 70% of Transcarpathia.

In the second half of the 19th century. in Western Ukrainian lands the population has increased sharply (demographic explosion) - in Galicia the population per 1 sq. km. in rural areas in 1857 there were 32 people, and in 190 - 102 people. In the context of an increase in the number of children in the family and the division of land between them, there was a process of decreasing the size of peasant plots.

Even after the abolition of serfdom, Western Ukraine remained a backward agrarian region for a long time. In Eastern Galicia and northern Bukovina, almost 75% of the population was employed in agriculture and forestry, and less than 10% in industry. During the second half of the 19th century. In the agriculture of Western Ukrainian lands, an agrarian evolution gradually took place; it switched to a market path of development. The Habsburg policies contributed to the impoverishment of the peasants, as a result of which many of them left their native land, emigrating to America.

3. The beginning of labor emigration of Ukrainians.

Teacher's story.

Emigration (Latin) – relocation, forced or voluntary movement of people from their country to another state for economic (labor emigration), political or religious reasons.

The demographic explosion, agricultural overpopulation, and lack of land were the reasons for the resettlement of Western Ukrainians at the end of the 19th century. to Canada, USA, Brazil, Argentina and other countries. To organize the recruitment and transportation of immigrants, there were special companies (the conditions of transportation of Western Ukrainian peasants were often reminiscent of the transportation of African slaves in the past. In new places, Ukrainian emigrants found themselves in difficult and unusual conditions.

During the second half of the 19th century. Approximately 250 thousand people emigrated from Eastern Galicia and Northern Bukovina, and 170 thousand people from Transcarpathia. The Austrian government did not adhere to a consistent policy on the emigration issue - at first it ignored it, and later banned emigration, returning the settlers back. But these measures did not stop emigration.

1. What difficulties, in your opinion, did the family of an emigrant peasant have to face in the new lands?

2. How do you understand the term “emigration”, “labor emigration”?

Working with a contour map.

Indicate the directions of labor emigration from Western Ukrainian lands.

IV. Consolidating new knowledge and skills of students.

Conversation on issues.

1. Tell us about the administrative-territorial structure of Western Ukrainian lands in the second half of the 19th century.

2. What impact did the agrarian reform of 1848 have? for economic development?

3. What changes occurred in the agriculture of Western Ukrainian lands in the second half of the 19th century?

4. Explain the term “labor emigration”, “demographic explosion”.

Working with the map.

1. Show Eastern Galicia, Northern Bukovina, Transcarpathia on the map.

2. Show on the map the countries to which emigrants from Western Ukraine moved.

V. Lesson summary.

Final words from the teacher.

The agriculture of Western Ukraine was burdened with the remnants of serfdom. The peasant reform turned into an almost naked, cynical robbery of the peasantry. The peasants suffered from land shortages, landlessness, poverty, and ruin. Unfair economic relations in Western Ukrainian lands caused agrarian resettlement, which was intensified by a demographic boom. Tens of thousands of peasants were forced to emigrate or go to work in neighboring states.

VI. Homework.

1. Study the text of the textbooks (51 paragraph 28 (chap. 1), paragraph 29 (chap. 1.2).

2. Prepare reports on the topics “Development of Galician cities”, “Lviv in the second half of the 19th century”, “Development of trade in Western Ukrainian lands in the second half of the 19th century”.

Lesson topic: “Our region at the end of the 18th century. - in the first half of the 19th century."

The purpose of the lesson:

To acquaint students with the history of their native land in the first half of the 19th century, showing it in the context of the fate of Ukrainian lands as part of the Russian Empire;

Formation of skills and abilities, finding historical knowledge from literature, local history museums of schools, district centers, regional centers;

Use classmates’ performances as a source of knowledge;

Give presentations on historical topics;

Cultivate love for your native land.

Equipment: map, outline map, map diagram, exhibits of the school museum, exhibition of books on the history of the native land.

Lesson type: learning new material.

Lesson structure

II. Learning new material.

1. Our region on the map of Ukraine.

2. Familiarization with literature on the history of the native land.

3. Local history museums of our region.

4. Economic life of our region in the first half of the 19th century. Its features and trends.

5. The main socio-political events of the first half of the 19th century.

6. Activities of social and political organizations in our region in the first half of the 19th century.

7. Anti-serfdom uprisings on the territory of our region in the first half of the 19th century.

8. Development of culture on the territory of our region: a) education; b) science; c) folklore; d) literature; e) painting; f) theater; g) sculpture; h) architecture; i) folk life; j) arts and crafts.

III. Consolidation of new knowledge.

IV. Homework.

During the classes

I. Organizing time.

II. Learning new material.

Methodological recommendations: the teacher carefully prepares this lesson in advance, maximally involving students in the search for local history information; During the lesson, the teacher can create temporary working student groups that use the museum exhibition, literary sources, and legends that reveal the history of their native land in the first half of the 19th century. In their presentations, students must introduce their classmates to the sources they used. With the help of the teacher, they prepare visual material: maps, tables, photographs of historical and architectural monuments, a map of memorable events, a chronological table. During the lesson, you can invite students to create a table “Our region in the first half of the 19th century.”

III. Consolidating new knowledge and skills of students.

Game – impromptu “Local history”

Game conditions: at the request of the students or the teacher, several local historians are chosen. Each student in the class asks one question. The winner is the one who gives the most correct answers.

IV. Homework.

1. Work through the notes in your notebook.

2. Finish work on the table “Our region in the first half of the 19th century.” (if this task was in class).

3. Prepare for a thematic assessment on the completed topics “Western Ukrainian lands at the end of the 18th – beginning of the 19th centuries,” “Culture of Ukraine at the end of the 18th – first half of the 19th centuries.”

CONCLUSION

Thus, based on this work, we can conclude that it is necessary to optimally use visual teaching tools in history lessons, which in turn leads to the following results:

Helps make the learning process more motivated and purposeful;

Provides the opportunity to organize self-monitoring of individual student performance;

The use of various visual aids makes it possible to increase the efficiency and quality of students’ assimilation of educational material;

Helps to include additional reserves and methodological techniques to improve the results of educational activities;

Reveals the methodology for effective work with visual learning tools;

The analyzed history teaching experience shows that the use of visual aids significantly saves time in presenting new material and consolidating the material covered;

Having a significant emotional impact, visual aids (pictures, illustrations and models) are of great educational importance in teaching history;

Familiarization with material monuments and the use of visual aids in history lessons awakens children's interest in studying the past, in history as a science, and activates their mental activity, attention and creative imagination.

Based on the results of the study, we can confidently note that the use of visual teaching aids gives much more high result rather than conducting an ordinary, “standard” lesson on a similar topic. The use of visualization allows schoolchildren to perceive the information presented not only in an auditory, but also in a visual format, which greatly increases the methodological significance of the lesson.

The need to use computer technology as a visual aid in Ukrainian history lessons is justified by us as a result of technological progress, which has a significant impact on the educational process, taking into account Ukraine’s desire for European education standards. The use of computer maps, textbooks, and search engines as part of work in a history lesson strengthens not only the necessary methodological aspect, but also creates comfortable conditions for teaching the history of Ukraine.

Thus, having studied the classification and methodology for using visual teaching aids, as well as using such visual aids as maps, portraits, diagrams, we confirmed our own hypothesis that optimization of the use of visual aids is achieved when working with different types of visual aids, as well as in their various combinations, and is an important methodological component of teaching the history of Ukraine.

Literature

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When verbally describing events and phenomena of the past in history lessons, in the overwhelming majority of cases, it is not possible to rely on students’ direct observation of the objects described or narrated because this phenomenon is already past, inaccessible to the living, direct perception of the students. Therefore, their historical ideas, created by the method of internal clarity, will inevitably be vague, inaccurate, and not entirely adequate to historical reality.

In teaching history, no means of artistic storytelling, no figurative presentation can create in students such accurate and specific ideas about the past as arise when perceiving the objects being studied or their images.

Based on the direct perception of objects or with the help of images (visuality) in the learning process, students form figurative ideas and concepts about the historical past. The principle of visibility is reflected in the variety of types of visibility and their classifications.

In modern didactics, it is customary to distinguish between internal, or verbal-figurative (literary images, examples from life, etc.) and external, or objective (graphic visual aids, natural objects and their images, etc.).

There is a classification based on external characteristics. It includes: printed (paintings, illustrations, maps, diagrams, tables); screen and screen-sound (strip films, films, video recordings, sound recordings); computer (graphic images: pictures, drawings, graphs, tables) teaching aids. Most often they turn to classification according to the content and nature of the historical image, highlighting object, pictorial, and conventionally graphic clarity.

By objective visibility in the study of history we mean the direct perception not of the historical past itself, but of material monuments of the past, its material traces; not the life of primitive people itself, but traces of their life and activity in the form of Stone Age tools, systematized in a museum exhibition; not feudal strife and knightly tournaments, but the material remains of this “noble” activity - weapons and armor. Object visibility, therefore, includes material monuments of the past, memorable places of historical events, works of art and household items of past times, genuine antiquities that make up a museum exhibition.

Specially made object visuals also stand out - various layouts and models, for example, a model of a feudal castle, a model of the ancient Kremlin, a model of a handloom, a catapult, etc. And of course, the operating models - the water mill and the ore lifting machine - are especially effective.

Visual clarity has a much wider application, i.e. depiction of historical events, figures, historical monuments. Fine visualization includes works of historical painting, educational maps on history, illustrations, photographs, portraits, caricatures, feature, educational and documentary films, as well as layouts and models. The visual aids used in school include:

• a) images of a documentary nature - documentary photographs, documentary films, images of material monuments, tools, cultural monuments in the form in which they have come down to us;
• b) scientifically based reconstructions of architectural and other monuments, tools, household items or their complexes, etc.;
• c) artistic compositions created creative imagination an artist or illustrator, of course, based on historical data; this includes works of historical painting, educational paintings and illustrations in textbooks depicting events and scenes of the past;
• G) technical means training: filmstrips, transparencies, audio recordings, CDs.

A special type of visibility is represented by conditional graphical clarity, i.e. expression of historical phenomena in the language of conventional signs. This includes maps, schematic plans, diagrams, diagrams, graphs.

In modern conditions, visual and graphic visual aids are most often used in school practice.

A significant place among visual aids is occupied by educational paintings - visual aids specially created by artists or illustrators for school course topics. Educational paintings are divided into eventual, typological, cultural-historical and portraits.

Event pictures give an idea of ​​specific individual events. Most often they recreate a decisive moment in history and require a narrative narrative. These are, for example, paintings by V.A. Tombi “The Battle of Salamis”, M.G. Reuther's "Joan of Arc's Entry into Orleans", etc. The content of the paintings is included in the story when the moment depicted in them occurs.

Typological paintings reproduce repeatedly repeated historical facts and events typical of the era being studied. Even in pre-revolutionary times, such paintings were created by K.V. Lebedev; among them are “Polyudye”, “Veche in Novgorod”.

Cultural and historical paintings introduce students to everyday objects and monuments of material culture. They can depict architectural monuments and architectural styles, household details from different times with their features, various mechanisms and principles of their operation.

Portrait paintings help to recreate the images of historical figures. Portraits are studied in a narrow and broad sense. When studying a portrait in the narrow sense of the word, attention is first paid to the facial features that characterize the person depicted on it as an individual. When studying a portrait in the broad sense of the word, along with outlining the anatomical features of the face and deciphering them, much attention is paid to awards and insignia. All this is commented on, which ultimately provides a meaningful description of the person depicted and his place in history.

One of the visual means of teaching history is caricature. She is accessible, artistically expressive, and is characterized by a sharply expressed idea. Therefore, the caricature is easily perceived. The cartoon illustration is used only to visually confirm the teacher’s words. A caricature-characterization requires an explanation of the essence, a comment from the teacher. To figuratively characterize a person, a portrait caricature is used, and for an entire era or major historical phenomenon, a symbolic caricature is used.

Appliqués are paper-cut and painted images of objects or representatives of various social groups typical of the era being studied: drawings of people, tools, buildings; symbols of wider content compared to what is directly depicted.

Applications appear on the board and replace each other during the presentation process, helping to reveal the essential aspects of the facts and the sequence of events. The appearance of each new application concentrates students’ attention on a specific action and creates a visual image.

Conventional graphical clarity includes: schematic drawings, diagrams, tables.

A schematic drawing conveys the most essential features of an object and contributes to the formation of concepts. “In the very nature of pedagogical drawing,” noted A.A. Vagin, “in its sketchy, constructive nature, there is a tendency towards generalization, a movement from objective clarity to a concept, from an image to an idea.”

A chalk drawing on a blackboard is made during the oral presentation and serves as its visual support. As a rule, this is a very simple, lively, swift drawing that recreates the image of material objects, people, and military battles. With the help of a schematic image, the teacher reveals the phenomenon in its logical sequence, determining the pace and at the right moment interrupting or resuming the graphic series.

Chalk drawings on a blackboard can provide geographical landmarks and can depict various diagrams. The internal structure of objects can be studied using a cross-sectional drawing. External static artistic drawings help the description. Dynamic drawings are the most difficult and help reveal the sequence of events.

To create a realistic image for students, in some cases it is advisable to compare a schematic image with an illustration or photograph.

Appliqués can be used in combination with the design. Applications are more often used when teaching younger students.

In high school lessons, schematic images are more often used, when lines, arrows, squares, and circles appear on the board during explanations. These are elements of conditional graphical clarity. These include diagrams, diagrams, graphs, cartograms, tables.

A diagram is a graphic representation of historical reality, where individual parts, signs of a phenomenon are depicted by conventional signs - geometric figures, symbols, inscriptions, and relationships and connections are indicated by their relative position, connected by lines and arrows.

Traditionally, in the methodology of teaching history, the following types of schemes are distinguished: logical, structural, sequential, search, diagrams, graphs, technical, local.

Structural diagrams reflect the relative position and connection of the components of something. Logic diagrams are graphic images that reflect a process, containing its components, resulting from one another. Search patterns are graphic images in the form of a logical diagram, the components of which contain, along with information, productive and cognitive questions, the answers to which allow students to think and reason logically, and more consciously absorb the knowledge they receive.

P.V. Gora attached great importance to another type of diagram - diagrams, which can emphasize the quantitative and qualitative aspects of the events being studied. If the diagrams present homogeneous data of simultaneous action, then they are easily compared and analyzed, and their sequence is established. Heterogeneous information allows us to trace the dynamics and trends of development.

Cartograms are maps that graphically present statistical data related to a phenomenon.

Graphs are drawings that use curves to depict quantitative indicators of the development and state of something. Graphs, unlike diagrams, show the cyclical nature of historical phenomena and processes and their stages.

Tables are a graphic representation of historical material in the form of comparative, thematic and chronological graphs for the purpose of filling them out by students. In the table, unlike diagrams, there are no symbols of historical phenomena. Tables are divided into thematic, comparative, chronological and synchronistic.

The system of highlighting the main points in historical material by demonstrating or filling out diagrams and tables is an important part of the system of teaching history.

Cartographic visibility. Historical events occur in both time and space. Attributing events to a specific space and describing the geographic environment in which it occurred is called localization. The locality of historical events is studied with the help of such schematic aids as historical maps, site plans, map diagrams. All of them are used for demonstration purposes and help to identify connections between historical events, their essence and dynamics.

Maps reproduce space-time structures using an abstract language of symbols.

Historical maps are created on a geographical basis and represent reduced, generalized figurative and symbolic images of historical events or periods. They are divided by territory coverage (world, continental, state maps); by content (overview, summarizing and thematic); by scale (large-, medium- and small-scale). Generalizing maps within a certain place and time reflect all the main events and phenomena provided for by sections of the school curriculum and state standards. Overview maps show events of a certain period.

Generalizing maps specify and reveal in more detail thematic maps, which reflect events and phenomena of educational topics.