The Monologue as a Sound Constituent of Creative Games of Preschoolers
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Abstract
On the basis of the material recorded in 1998-2001 in Ekaterinburg, the editor examines one of the most complex forms of children’s sound-based self-expression – the play monologue. It is characterized for its inherent syncretism of the verbal-syllabic element, plasticity of body, mimicry, gesture and singing. Psychologists correlate such forms with the egocentric speech typical for children, extroversive in its means of expression, yet introversive in its structural organization and communicative function. Utterances in the forms of monologues are accompanied, for the most part by playing at theatrical productions, as well as processes of drawing.
The monologue is interpreted in the article as a text existent in oral form, endowed with semantics, syntax and pragmatics and functioning in the conditions of communicating with people. The monologue is interpreted in the article as a text existent in oral form, endowed with semantics, syntax and pragmatics and functioning in the conditions of communication with people. The semantics of monologue-type texts is conditioned by the preschoolers’ image of the world, their perceptions of the sounds of the surrounding world and the norms of sound behavior in various social and cultural situations. The role of singing in these instances is great, at that the milieu of vocal segments is immensely broad and includes vocalizations on asemantic syllables and improvised verbal fragments, melodies invented by the child itself, fragments from familiar songs, ornithomorphic and zoomorphic sounds, etc. The regularities of rhythmical, pitch-related and syntactic constructions of the monologues are determined by their syntax. The pragmatics of the studied text is formed by two key vectors – the functional and the communicative. Realizing all the diversity of the functions which are generally carried out by speech, the monologues generally disclose the specificity in the sphere of communication. Notwithstanding their individual form, they are dialogic, which is stipulated by the use in theatrical production games of the models of the intra-personal and the personal-group communication, as well as a constant change of viewpoints of their creator/performer.
Keywords: games, play monologue, text, inner dialogue, semantics, syntax, pragmatics
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