First, read the taste of "language". The "language" here mainly refers to the language form of classical Chinese. Classical Chinese has a strong sense of music, cadence, simple and carefree reading, and a special charm different from vernacular Chinese.
For beginners of classical Chinese, teachers should help students read the text correctly and teach them some skills of reading classical Chinese, such as: paying attention to the reading methods of polyphonic words, reading difficult sentences several times, and reading the text correctly and fluently; It is necessary to guide students to experience sentence staccato and pause, and let them perceive the methods of speech speed, intonation and staccato, so as to read the taste of classical Chinese. For example, the teaching of "Learning Chess": Teacher: Pay attention to "sentence-breaking" when reading ancient Chinese.
Of course, punctuated places need to pause, but in some sentences, according to its meaning, those places without punctuation need to drag on for a long time. Reading like this makes it easier for you to understand and for the listener to understand.
Take out your pens and listen to the teacher read it again. Pay attention to the place where the teacher reads without punctuation but drags his pronunciation, and draw a diagonal line there. Teacher: Let's read it according to the diagonal drawn below. The drawl can be exaggerated.
(Students practice reading aloud alone) Teacher: The ancients paid attention to intonation when reading, and shook their heads or even shook their bodies with the rhythm after reading. (Teacher demonstrates: "Qiu Yi, Guo Tong, this ... is also a good player."
Laugh. Don't laugh, people who look at the taste are like this.
Why don't you try it and see if you can read the taste? Students continue to practice, many people shake, and the atmosphere is very warm. ) Teacher: You read really well. Dare you stand up and shake? Teacher: Much better.
Read this sentence again. (Demonstration: "Why/Is it wisdom/What?" ) Note that it is a question mark.
(Students reread this sentence) ... In this teaching session, we can see that the teacher's telling, demonstrating, correcting and practicing are all aimed at making students feel the different language forms of classical Chinese and vernacular Chinese, so that students can learn to read classical Chinese. It is worth mentioning that teachers' model essay reading plays a very important role in classical Chinese teaching. Teachers' demonstration of reading aloud with clear pronunciation, cadence, distinct rhythm and beautiful rhyme is conducive to stimulating students' interest in learning classical Chinese, inducing students' emotions, guiding students to better grasp the reading rhythm and key points of classical Chinese, understand the charm of classical Chinese and feel the charm of classical Chinese from reading.
Second, the taste of reading "artistic conception" The so-called "artistic conception" mainly refers to the content, thoughts and emotions contained in the language of classical Chinese texts. When in Rome, do as the Romans do, so as to understand the text deeply.
Let students get the experience of "artistic conception" without "reading". Guide students to chew the language and characters in the text, and the interpretation of "artistic conception" will become more vivid and emotional, as if the people, events, scenes and feelings in the text are in front of them.
Sometimes, works full of sounds and emotions can guide students into the artistic conception and experience emotions better than painstaking word-for-word translation. It is no exaggeration to say that "reading" is the preferred strategy to guide students into the artistic conception in classical Chinese teaching in primary schools.
For example, the teaching of the lesson "Boya Juexian": Teacher: Kindness! After the word "zai" is extended, it seems that the sound of the piano has fallen into my heart. I think you are not only good at reading, but also good at reading e-e- and Yang-! What kind of scene did you see when you read this book "e·e·Xi"? What kind of photos? Health: There seems to be a tall Mount Tai in front of my eyes, which looks magnificent.
Teacher: The towering Mount Tai, please read this picture again. Health: It seems that there is a towering Mount Tai standing between heaven and earth before my eyes.
Teacher: Good experience. Saw such a picture. (The boys watched it together, very heroic and full of feelings. )
Teacher: It is worthy of being a man of steel, and it is worthy of being the Mount Tai standing between heaven and earth. Who will read the second sentence? (Girls read together, which is very emotional. )
Teacher: it's really "women don't let an eyebrow"! It seems that you can see the wide river. The "Jiang" here refers to the Yangtze River in China and the "River" refers to the Yellow River in China.
What words or poems do you think of when you think of the Yangtze River and the Yellow River? Health: "Magnificent" jumps out of my mind. Teacher: When I heard you say these two words, there was no wave at all.
Health: (very heroic) magnificent and choppy. Teacher: It is such a "magnificent" river. Please read! Health: I remembered a poem, "The Yellow River winds in Wan Li, and waves and winds blow from the horizon".
Teacher: It is such a magnificent Mount Tai and such a turbulent river. Let's read together. (all read together, reading very imposing. )
In this link, based on reading, teachers guide students to read out the majestic Mount Tai and the surging of the Yangtze River and Yellow River through repeated reading, combine understanding with reading, promote understanding through reading, deepen students' understanding of the text, accumulate language, cultivate a sense of language, master learning methods, and obtain rational aesthetic feeling. This is the artistic taste of reading. Third, read the taste of "culture". The "culture" here refers to the humanistic connotation contained in classical Chinese.
When we are faced with the classic classical Chinese texts that have undergone historical elutriation, we can always feel the profound humanistic connotation behind their texts, and we can also deeply understand that excellent Chinese classic culture needs to be passed down from generation to generation. For example, the teaching of Bo Ya Jue Xian: Teacher: classmates, Bo Ya and Zi Zi. This story of bosom friend touched and warmed China people who longed for mutual understanding from generation to generation.
During the Warring States Period, more than 300 years after the story happened, the ancient book Liezi recorded this touching story and the names of two close friends-Yu Boya and Zhong Ziqi. Teacher: Time flies, more than 500 years have passed, and "Lv's Spring and Autumn Annals" still presents us with the best moment when bosom friends meet-boys read together! Teacher (to the boy): I'm sorry to ask about the sadness in the world, but Boya string is absolutely silent.
/kloc-More than 0/000 years later, in the Tang Dynasty, people still sighed for Boya's broken piano in ancient poems ―― girls read it together! Teacher: More than two thousand years later, in the Ming Dynasty, people used novels to tell this eternal story. Teacher.
2. Ancient prose that is very tasteful to read, playing drums is boring and actively using troops.
Cao Tuguocheng, I travel south alone. From Sun Zizhong, Chen Pinghe and Song Dynasty.
No, I'm going home. I'm worried. Where do you live? Lost his horse? For it? Under the forest.
Life and death are generous, and Zi Cheng says. Hold your hand and grow old with your son.
2. Guan Yu is in Hezhou. The beautiful and virtuous woman is a good spouse of a gentleman.
Interlaced shepherd's purse, flowing from left to right; A beautiful and virtuous woman wakes up to pursue her. I can't wait, and I'm thinking; Miss Long, I can't sleep over and over again.
Staggered shepherd's purse, picked from left to right; A beautiful and virtuous woman came to her with a couple and a couple. Staggered shepherd's purse, left and right; A beautiful and virtuous woman rings the bell to please her.
3. The Millennium is frost. The so-called Iraqi people, the water side, follow it back, the road is long.
Swim back from it, in the middle of the water It's been a long time, and it hasn't changed for thousands of years.
The so-called Iraqis are in the water. Tracing back and forth from it, the road is blocked and broken.
Swim back from the inside and swim in the water. Jia Cai, peace and prosperity have not passed.
The so-called Iraqis are in the water. Go back and follow, the road is blocked and turn right.
Swim back from the inside and swim in the water. 4. Ask what the world is like and teach life and death.
Flying in all directions, the old wings have been hot and cold several times. Happiness is happy, but parting is painful.
There are more stupid children, and you should also have language. There are clouds in Wan Li, and Qian Shan snows only for whom. Cross Fen Road, take care when you are lonely.
The smoke is still dull, so what's the point of evocation? Shan Gui crows in the wind and rain, and the sky is jealous.
If you don't believe in peace, birds and swallows are all loess. The times will last forever.
In order to leave it to the poet, I sang and drank and visited Qiu Yan. 5. Ten years of life and death.
Never think, never forget. A lonely grave thousands of miles away, desolate and nowhere to talk about.
Even if we don't know each other, our faces are dusty and our temples are frosty. When night came, my dream suddenly came home.
Xiao Xuan window, get dressed. Care for each other without words, only a thousand lines of tears
It is estimated that the annual heartbroken place, moonlit night, short matsuoka. 6. once the sea was difficult for water, it was always amber.
Hurried through the flowers, lazy to look back; This reason is partly because of the ascetic monk, and partly because of who you used to be. 7. The peach is dying and burning with its brilliance.
The girl is going to get married and be happy at her husband's house. Peach blossoms are in full bloom and there are countless fruits.
The girl is going to get married, and the heir who gave birth early is going to make a fortune. Peach blossoms are in full bloom, and green leaves are lush and never fall.
The girl is getting married, and Comix is in harmony.
3. How to make classical Chinese teaching full of Chinese flavor 1? Picking beautiful flowers for classical Chinese teaching.
In the long history of the development of classical Chinese for thousands of years, there are all kinds of beautiful ancient Chinese, either rhyme or scattered, rhyme or unique, magnificent, or sad and meaningful. They are really colorful and colorful. These classic American essays, like a clear stream, are clear and swift, and have nourished many Chinese people.
When designing the teaching of classical Chinese, we should fully explore the elements of beauty contained in it, so that the beauty of language, connotation, emotion and characters can radiate infinite charm and play their due roles in teaching. Today, I listened to the two lectures, The Masterpiece of Eternal History and The Story of Yueyang Tower, taught by Mr. Hong Qian and Mr. Song Yanlin. Although it is old, I still have a feeling of being always new, kind and beautiful. What impressed me the most was Teacher Song's class. She did not insist on using rigid translation to guide students to understand the text, but used perceptual understanding to guide students, and really used modern ideas and flexible language to explore the beauty of teaching materials and analyze the taste of classical Chinese.
I think Chinese teachers should be good at teaching design, really dig out the beauty and beauty factors in ancient Chinese, let beautiful flowers bloom and let beautiful ancient poems trickle, then students will feel the beauty of ancient Chinese in class and the class will have Chinese flavor.
Second, we should pay attention to reading and accumulation.
Reading and accumulation are very important aspects in the teaching design of classical Chinese. Reading and accumulation are indispensable to truly taste Chinese in Chinese class.
Reading plays an irreplaceable role in the teaching of classical Chinese, which is the basis of learning classical Chinese well and the first key to open the teaching door. Most of the classical Chinese words selected in this paper are brilliant in literary talent, beautiful in rhythm, far-reaching in artistic conception and catchy, which is more suitable for reading aloud. When designing, teachers should first consider allowing students to correctly identify glyphs and pronunciations with the help of the following reference books and notes, paying special attention to the pronunciations of polyphonic words, loanwords and ancient proper nouns. Secondly, we should consider guiding students to read general sentences, rhythm, rhythm and mood. If possible, it is best to record the classical Chinese with the help of audio-visual teaching equipment so that students can read it. Third, we should consider studying the text in depth and guide students to analyze the structure, characters and language characteristics of the article. Finally, we should consider improving students' understanding and reading ability, which is the summary stage of learning. "A book is read a hundred times, and its meaning is self-evident." By reading many times, we can deepen our understanding of the text.
Today, Mr. Shallow Rainbow pays special attention to reading in class. She only pays attention to reading in Chinese teaching and guides students to appreciate the text. In the classroom, she takes reading as the main line, and fully appreciates the scenery rhetoric and the author's feelings in the text by letting students entertain themselves, so that students can have a deeper understanding of the content of the article in the process of reading. When designing the teaching of The Story of Yueyang Tower, we should consider making students realize the neat and catchy features of parallel prose in repeated reading, and appreciate Fan Zhongyan's broad-minded mind of "not liking things, not worrying about himself" and his grand ambition of "worrying about the world first, and enjoying the world afterwards". As long as students are guided to walk in and be exposed to the environment, Chinese classes will have the taste of classical Chinese.
4. How primary school students read the artistic conception of classical Chinese is a unique category of China's classical aesthetics.
The word "artistic conception" was first put forward by Wang Changling, a poet in the Tang Dynasty, as one of the three realms. Si Kongtu's Twenty-four Poems embodies the category of artistic conception, and holds that the ultimate of poetry is "romance without words" and "emptiness without traces". Mr Zong Baihua also said that artistic conception is "the most central and beneficial aspect in China's cultural history".
Can you describe it with artistic conception? "Meaning" is the author's thoughts and feelings in his poems, and it is expressed by expressing feelings through scenery, expressing ambition through objects, or understanding things. "Context" refers to the author's description of specific things, which makes readers feel as if they are in the environment, produces feelings similar to those of the author, and arouses inner voices.
Specifically, artistic conception refers to the use of artistic images, on the basis of the integration of subject and object and the forgetting of things and me, to guide the recipients to a realm that transcends real time and space and is full of metaphysical ontology. Thus, the artistic conception is a high degree of unity between the natural scenery and the realm in the author's mind, a natural fusion of external objects and internal information, and an artistic picture full of the author's thoughts and feelings.
Ancient poetry is the brightest pearl in China's literary and artistic halls, and many famous works have been selected into middle school Chinese textbooks. It is clearly required in the Chinese syllabus to cultivate middle school students' ability to appreciate ancient poetry and prose.
Therefore, as a middle school Chinese teacher, we must teach students how to appreciate ancient poetry. The "artistic conception" of ancient poets is beautiful, but it is a major difficulty in teaching.
How can we guide students to appreciate the "artistic beauty" in ancient poetry more effectively? This article briefly talks about understanding. 1. Stimulating imagination and reappearing artistic beauty Imagination refers to the psychological process of creating a new image through new processing and reorganization on the basis of perceptual materials.
Imagination has the characteristics of breaking through the limitations of reality, freely synthesizing and reorganizing memory images and creating novel and unique images. If any aesthetic activity only stays at the level of perceptual knowledge, it will not produce the voice of aesthetic emotion.
Many images in China's ancient poems are based on imagination, which makes emotional communication and integration between subject and object, creator and appreciator. Ouyang Xiu, one of the eight famous poets in Tang and Song Dynasties, is famous for his poem Zuiweng Pavilion, which is well-known and has been passed down to this day.
In teaching, in order to guide students to appreciate the artistic pictures with beautiful artistic conception described by writers, it is necessary to clarify the true meaning of writers' creation, expand their imagination, and let them appreciate the beautiful pictures in poetry again and enjoy them. The ideological meaning of Zuiweng Pavilion is a word of "music", which is the music in "drunkenness". It is like a colored line connecting all the pictures, which constitutes a perfect artistic treasure.
"The meaning of drunkenness is not wine", "I care about mountains and rivers". Being fascinated by mountains and rivers and being drunk naturally is the true meaning of a writer.
According to this "meaning", the author drew a beautiful "realm", thus achieving the blending of emotion and scenery and the harmony between meaning and realm. Figure 1, the beauty of mountains and rivers.
In the writer's pen, Langya Mountain is a landscape painting. There are mountains, springs and pavilions.
Langya Mountain is beautiful and lush; Brewing spring gurgled out; Zuiwengting lives on the spring and flies like wings. The mountain springs depend on each other, and the spring pavilions set each other off. In a painting, there are all kinds of landscapes and pavilions, which reflect colors and show a picturesque and beautiful realm.
Figure 2, the beauty of change in the morning and evening. "Sunrise flowers in the forest, the clouds return to the cave, and it becomes clear, and sooner or later in the mountains."
At sunrise in the morning, the fog in the forest disappeared and it was fresh. At sunset in the evening, the cave was shrouded in twilight and there was a hazy image. The writer vividly wrote different scenes in the morning and evening in concise language. Figure 3, the beauty of seasonal changes.
"Wild incense is fragrant, beautiful wood is cloudy, wind and frost are noble and clean, and the water comes out, and it is also in the mountains at all times." Wildflowers are in full bloom, the fragrance is fragrant, the trees are beautiful, the autumn is crisp, the frost is white, the winter water is shallow, and the rocks are exposed.
Every painting in a season selects the most distinctive scenery, covering all the situations and giving people different aesthetic feelings. Figure 4, the beauty of having fun with others.
It is not surprising that ordinary people can easily feel the joy of mountains and rivers. Describing the scenes of Chuzhou officials and people's amusement deepens the connotation of "music". Chuzhou people live a happy life in a peaceful and prosperous environment under the management of honest and promising officials. This genre painting of "having fun with the people" shows the scene of political clarity and expresses the author's political ideal.
Zuiweng Pavilion is an essay with fresh style and beautiful artistic conception. It not only depicts a beautiful landscape painting for readers, but also outlines a peaceful and peaceful amusement map. The two sets of pictures set each other off and become interesting, and the artistic conception is far away, which will be passed down through the ages. 2. Grasp the key words and taste the artistic conception. The ancients said: "Write a word, and the realm will be exhausted."
Teachers should guide students to learn ancient poems and appreciate their artistic beauty. They should grasp the key words or sentences and carefully taste the artistic beauty of poetry. Looking at Tianmen Mountain is a magnificent landscape poem by Li Bai, a great romantic poet in the Tang Dynasty, which depicts the magnificent momentum and artistic conception of looking at Tianmen Mountain from a ship.
The "Chu" and "Lai" in the third sentence and the fourth sentence in the poem are well used, so we should savor them carefully. The words "green hills on both sides of the strait are opposite" and "out" give the originally static mountain a dynamic beauty.
If you just stand at a fixed point on the shore and look at Tianmen Mountain from a distance, you will only have a static feeling of towering mountains. While the poet was boating in the middle of the river, Tianmen Mountain in the distance came into view, and the clearer majestic gesture was fleeting, and the feeling that the green hills on both sides of the river quickly receded was very prominent.
The word "Lai" is the complement of the word "Chu". When the ship is sailing in the middle of the river, Tianmen Mountain seems to welcome guests from distant places with open arms. The words "Chu" and "Lai" are all poems. If you savor it carefully, it is not difficult to appreciate the magnificent picture of "Tianmen faces across the river and the Yangtze River is magnificent" outlined by the poet, which gives people a vivid feeling.
Another example is Ma Zhiyuan's Jing Tian Sand? In Qiu Si's Sanqu, the phrase "heartbroken man" is the most important. In the first half of the song, nine kinds of unique scenery are written in the form of lyrical objects: rattan, tree, crow, bridge, water, home, road, wind and horse, and they are crowned with nine very vivid words: withered, old, faint, small, flowing, human, ancient and horse.
5. How can I get familiar with classical Chinese and learn it well? 1. Analysis of the necessity of creating a good atmosphere for learning classical Chinese.
The new Chinese curriculum standard emphasizes: "Reading simple classical Chinese can help you understand the basic content with notes and reference books." It can be said that the new Chinese curriculum standard reduces the requirements for learning classical Chinese, and the items of the classical Chinese examination in the senior high school entrance examination are limited to textbooks. Theoretically, there should be a fairly ideal result, but the result is quite unexpected. The author investigated more than 50 Chinese teachers in middle schools, and found that in the process of classical Chinese teaching, most teachers pay great attention to sentence translation, memory and targeted exercises, and the teaching process is rigorous.
However, in the process of learning classical Chinese, most students think that the process of learning classical Chinese in this way is boring and inefficient, just like learning another foreign language. They even think that teaching classical Chinese well is teachers' wishful thinking, and students can only "roll with the punches". The reasons for the low learning efficiency of classical Chinese are: 1. Students leave the situation of understanding classical Chinese.
Classical Chinese is really not like modern Chinese, which makes students read fluently and understand the meaning. It is difficult for students to accept the complexity of translation, to understand the expression of stubborn teeth in classical Chinese and to understand the true and rich expression of ancient people's feelings.
For example, in Zou Ji satirizes the King of Qi, Zou Ji asks his wife, concubine and guests the same question: "Who am I, Xu Hongmei in the north of the city?" The wife said, "Your Majesty is very beautiful. How can Xu Can Palace compare with you?" The princess said, how can I compare with you? The guest said, "Xu Gong is not equal to your beauty." They replied with one voice, with the same meaning but different sentence patterns, and slightly changed words, but expressed different tones and different psychology of different characters.
When students understand the above content, they often start with words and sentence patterns, and then rush to answer the teacher's question "Why is the tone different?" Instead of experiencing it in a specific story situation. This understanding of classical Chinese is superficial, dull, vivid and not profound, and the mastery is hasty, hasty, unstable and firm.
2. Students leave the situation of using classical Chinese. Zhao Pu's Half Analects of Confucius Governing the World illustrates the importance of applying what you have learned.
However, in daily life, students' communication is not deliberately expressed in classical Chinese, and they think it is a rather pedantic performance. Kong Yiji's "Too much is too little, too much" is a proof. In the teaching class, our teachers may also ignore the particularity of the flexible use of classic sentences in different situations.
For example, teachers often describe it as a high-profile performance of the United States singing bad human rights at the United Nations, which is interpreted as ulterior motives. But at this time, "The Drunken Pavilion" should not be understood in this way.
In fact, the use of classical Chinese also requires students to have a certain cultural taste. Due to the limitation of students' cultural quality, students have a special liking for the emerging and simple network language, but ignore the use of classical Chinese.
3. Students leave the classical Chinese humanistic situation. Classical Chinese is rich in poetry and painting, exudes unique cultural charm and embodies profound national feelings.
However, students seem unable to understand the subtleties of classical Chinese. For example, in the article Born in Worry and Died in Happiness, students understand the important knowledge of "sense of worry" and "success in adversity". However, when asked about the modern significance of their sense of hardship and how to make themselves talents, students are at a loss.
The key lies in the lack of humanistic situation. The creation of humanistic situation in classical Chinese requires students to pay attention to contemporary social and cultural life, pay attention to the cultivation of their own quality, and strive to be well cultivated in the study of classical Chinese, improve their life quality and cultivate healthy personality.
For example, the creation of the humanistic situation of "anxiety consciousness" makes students worry about the war in peacetime, the environment of developing society, and the incurable diseases in a better life ... Let students learn from the broad mind of the ancients, shoulder the responsibility of inheriting excellent civilization, and establish a correct outlook on life and values. It can be seen that it is very necessary to create a good atmosphere for learning classical Chinese.
2. Strategic thinking on creating a good atmosphere for learning classical Chinese. Since learning classical Chinese requires a good situation and it is so important to create a good atmosphere for learning classical Chinese, we should think strategically.
1, intonation, irony and intonation is to ask students to read aloud, read correctly and fluently, visualize the language in cadence, beautify and deepen their emotions. Let the students immerse themselves in it, understand the taste of the article and gain something.
"Old books are never tired of reading, and children know themselves when they are familiar with them." "They are familiar with 300 Tang poems, and they can sing even if they can't write poems." This is a subtle presentation of chanting. For example, the repeated reading of "sending 900 people to guard Yuyang and stay in osawa Township" in Chen She Family is different from "sending 900 people to stay in osawa Township", which deeply understands the history of Qin Xing's corvee and people's garrison.
After Zou Ji satirized the King of Qi as a "capable minister", Qi Weiwang said "goodness". Concise and just right, it reflects Qi Weiwang's affirmation of Zou Ji and shows that he is an enterprising and enlightened monarch.
Therefore, when reading the word "goodness", we should read the majesty and wisdom in short notes and the heroic mind in high notes. Such a generation of wise men can be said to have both form and spirit to force Xiao. 2, taste perception, rebuilding the body's teaching of classical Chinese, Mr. Ye Shengtao believes: "When reciting, we should not only rationally understand what we have learned, but also sincerely experience it. Unconsciously, the content and truth become the readers' own things, which is the most precious realm. "
A good example is Tao Yuanming's reading, "appreciating anecdotes and analyzing doubts" and "the governor forgets to eat". When we recite Fan Zhongyan's great political ambition of "worrying about the world first, and enjoying the world later" in Yueyang Tower, we should realize the practical significance of "enjoying the world first and enjoying the world later".
When we sing the sacredness of "sacrifice one's life for righteousness" in "I want fish", we should feel the will of people with lofty ideals to sacrifice their lives for the country and go to disaster generously throughout the ages. Through the feeling of taste, let students have a cordial experience and make classical Chinese learning interesting; Students' unique aesthetic taste also makes the connotation of classical Chinese shine.
At the same time, students also internalized the excellent cultural essence, achieved perfection, and improved their cultural literacy to varying degrees. 3, accumulate, learn to use Ouyang.
6. How to read ancient Chinese? I'm sure you don't want that kind of long speech copied online.
My own experience is that
You should prepare a dictionary of common words in ancient Chinese, which is green and can be bought in bookstores.
When reading ancient Chinese or ancient books, look up words that you can't understand in the dictionary and remember every analysis.
If you see this word again in the future, there will be no problem, that is, you can use it more than once.
Also pay attention to the flexible use of parts of speech, such as nouns as adverbials, the use of rankings and so on.
If you have time, read more ancient prose, learn from it, stop reading ancient prose and historical records, and cultivate a sense of language.
If you have to do an ancient essay question, first look at the original text to find the answer, and translate the corresponding part of the original text, and the problem will be solved.
Finally, I wish you success!
7. How to read classical Chinese is an important part of Chinese teaching. Classical Chinese test questions are the highlight of the college entrance examination. Students often ask how to learn classical Chinese well so as not to lose points in the college entrance examination. I think if we can pay attention to the following points, we can learn classical Chinese well and improve the hit rate of the college entrance examination.
First of all, we must have relevant historical knowledge. As the saying goes, literature and history are not separated. Everyone lives in an era, and the politics, economy and culture of this era will certainly have an impact on him. Therefore, only by understanding the era of this person's life can we understand the connotation of his works. For example, Qu Yuan advocated reform and hoped that Chu would be strong, but the king of Chu was "confused by Zheng Xiu at home and bullied by Zhang Yi abroad", alienated Qu Yuan first, and then exiled him to the Miluo River, which made his reform ambition impossible and buried him in the river. Knowing this history, it is much easier for us to understand Li Sao.
Second, have relevant cultural common sense. China's ancient culture is profound and rich in connotation, and many contents are constantly evolving with the development of history. Such as name and title, official position and imperial examination, geographical knowledge, patriarchal manners and customs, clothing and utensils, calendar criminal law, ancient book annotation style, etc., are greatly different from ancient times to modern times. Although students don't need to master all these contents, they should also accumulate what they encounter in their studies as their own knowledge reserves, so that they can call them at any time in classical Chinese learning and exams.
Third, learn to "solve the belly of the ancients with the heart of the present." We live in today's society, and in the face of disasters, we will unite as one. In the face of ugliness, they will attack and lash; We will work together to resist external humiliation. In fact, this kind of thoughts and feelings are in the same strain. In the face of external humiliation, Wen Tianxiang wrote: "Since ancient times, no one has died, keeping the heart of Dan to shine in the history of history." Facing the sufferings of the people, Du Fu wrote: "The wine in Zhumen stinks and the bones on the road freeze to death." Therefore, when we study ancient Chinese, we should be good at comparing and associating the feelings of the ancients with those of today, so as to try to figure out the thoughts of the ancients and accurately understand the essence reflected by classical Chinese.
Fourth, grasp the teaching materials and lay a solid foundation for classical Chinese. When learning classical Chinese, we must master the knowledge points that appear in textbooks: ① Phonetic sounds, including polyphonic characters and different reading characters. ② Meaning, including ancient and modern different meanings, polysemy and flexible use of parts of speech. ③ Sentence patterns in classical Chinese, including special sentence patterns and complex sentences in classical Chinese.
Fifth, to learn a classical Chinese, we should do the following: first, grasp the article as a whole and understand its main contents; Secondly, put the understanding of paragraphs into the overall grasp of the text; Third, in the specific language environment, we can further understand the words in the context; Finally, on the basis of the first three conditions, further understand the deep meaning of the article. In short, if you can do the above in your usual study, you will lay a solid foundation for the college entrance examination.