Question 2: How to teach poetry in primary schools, as one of the literary genres in ancient China, poetry language is humorous and concise, with distinct rhythm, which entrusts the author with rich imagination and emotion and reflects social life. With the deepening of curriculum reform, the purpose of Chinese teaching is no longer simply to improve students' Chinese ability, but more importantly to cultivate students' aesthetic taste, cultural taste and moral cultivation, so as to improve students' ideological understanding and inherit and carry forward our excellent traditional culture. Teachers must clearly understand the characteristics of poetry teaching in textbooks and formulate targeted poetry teaching strategies.
Question 3: How to evaluate poetry teaching?
A complete teaching process needs not only the process of teachers' teaching and students' acceptance, but also the process of evaluating the effectiveness of teaching activities. In fact, "assessment is as important as the teaching process. Evaluation is not a task, but a continuous process. As an auxiliary education, it is a major, indispensable and comprehensive component in the process of teaching and learning, which runs through every link of teaching activities. " [①]
But for a long time, due to historical reasons and people's inherent way of thinking, the simple understanding of teaching evaluation is examination, and examination has become the "baton" of all teaching. Obviously, this understanding of teaching evaluation is wrong. Because the principle of the reform of the evaluation and examination system in primary and secondary schools established in the Notice of the Ministry of Education on Actively Promoting the Reform of the Evaluation and Examination System in Primary and Secondary Schools: "The fundamental purpose is to better improve the comprehensive quality of students and the teaching level of teachers, provide guarantee for the implementation of quality education in schools, give full play to the function of evaluation to promote development, and make the evaluation process a process to promote the development and improvement of teaching; Evaluation methods should be diverse. In addition to exams or tests, we should also study and formulate scientific, simple and easy-to-use evaluation methods, and explore evaluation methods that are conducive to guiding students, teachers and schools to make positive self-evaluation and other evaluations. Theoretically, the state is scientific in formulating the system, but it deviates from these basic principles in our concrete implementation.
As for teaching evaluation, Mr. Chen of Fujian Normal University believes that we should correctly understand the following important relationships in theory: quantitative evaluation and qualitative evaluation, static evaluation and dynamic evaluation, result evaluation and process evaluation, objective test evaluation and subjective test evaluation, paper-and-pencil test evaluation and performance test evaluation. But I think that no matter what kind of evaluation method is adopted, Chinese teaching, including our poetry teaching, is nothing more than an evaluation from two basic aspects: emotion and intelligence.
First, intelligence: the intelligent cultivation of knowledge
If we evaluate teaching from the aspect of intelligence, then the examination will inevitably become an unavoidable problem. However, examination can only be an important factor in teaching evaluation, but it is by no means the only factor. As early as 1978 national education conference, * * * pointed out: "Examination is the main method to check the learning situation and teaching effect, just as checking the product quality is the necessary system to ensure the production level of the factory. Of course, you can't be superstitious about exams. You should take exams as the only way to test the learning effect. You should seriously study, experiment and improve the content and form of exams to make their functions perfect. " [2] * * * This passage on the exam is incisive, but for a long time, we don't seem to really take the exam seriously, because "the exam is the only form of investigation, and the content of the exam focuses on the past and seeks an internal conclusion. Throughout the country, although there are signs of diversification in the form of examination, due to the requirements of unified teaching materials and examination syllabus, the form of examination has not changed fundamentally, and written examination has basically become the only form. Other forms are basically insignificant or have no effect at all. " [3] So, what I want to talk about here is how to objectively look at the intellectual evaluation of poetry teaching in our teaching, that is, the examination.
The examination of Chinese subject, especially since the "Chinese discussion" [④], has been criticized and reviled from the perspective of national Chinese examination, that is, college entrance examination. Among these critical discourses, Sun Shaozhen, a professor at Fujian Normal University, wrote the article "Bombing the National Unified College Entrance Examination System", which is quite representative. He said: "The closest, richest and most complicated parent-child affection and teacher-student affection in the world have been distorted into the simplest, roughest, driest and most emotionless utilitarianism. No matter how great the value criterion is, it focuses on one focus-how much love there is, how much harshness and inhumanity there is. Motherly love has almost deteriorated, and loving mothers are sometimes more demanding than strict father; What is the dignity of teachers, what is teaching, everything is false. In China, only the scores on the examination papers are true. " Objectively speaking, such criticism helps to avoid "tricky questions, strange questions, off-topic questions and absurd questions" in the Chinese test questions of the college entrance examination, but I think that the college entrance examination system, as a relatively fair means in the talent selection system, will continue to exist in a certain period of time, and it is still an important part of the teaching evaluation system, so ... >>
Question 4: How to teach modern poetry? Today, I heard a modern poem taught by an excellent teacher. After the lively classroom atmosphere, I was at a loss. The research content is On the Other Side of the Mountain by Wang Jiaxin, a famous modern poet in China.
Poetry is divided into two parts. The first part recalls my childhood experience of climbing mountains and seeing the sea, and the second part writes about my feelings and beliefs as an adult.
Poetry teaching is different from ordinary text teaching, and it is really not easy to learn it well.
Teacher Zhou, who teaches, is excellent, and has participated in seminars and demonstration classes in urban areas many times. In teaching, she mainly guides students to enter the text through reading, tasting and appreciation.
At the beginning of the class, she brought the students into the text through her own score model reading, then the students read freely, and then guided the students to discover the formal characteristics of poetry, which was divided into two parts. Not bad at the beginning, reading more books is the "magic weapon" to learn poetry.
Health: I climbed countless mountains to see the sea.
Health: It's different.
Students soon know that the sea they want to see in childhood is the real sea, but they can't talk about it in adulthood.
Teacher: Discuss it and read a book.
Students found a "sea of faith" from the book. The teacher then led the students to say that "the sea" symbolizes ideals, and countless mountains symbolize hardships and hardships. Finally, the teacher concluded that this is a major feature of this poem and expresses his inner feelings by symbolic means.
Modern poetry is not much better than ordinary text. Concise language is its characteristic, and the words used are different from those used in general articles. Behind every paragraph is the author's "heart". Its teaching should have its own characteristics.
First, reading is the main means of modern poetry teaching. Modern poetry is somewhat different from the written expression of general texts, with a strong sense of rhythm and rhythm. At the beginning of teaching, students should not only read through the familiar poems, but also read out the unique sense of rhythm, and initially perceive the content and emotion of poems in reading.
Thirdly, learning poetry should also learn to call students' life experience to understand the emotion of poetry. All "poetic language" is perceptual language, and modern poetry has far-reaching significance, and the phenomenon of using words and allusions is common, so there is no life experience of students to participate in learning, and students will only feel the feelings of teachers under the guidance of teachers.
For example, in this poem, when the poet did not see the frustration and disappointment of the sea when he was a child, the teacher could not only feel the content of the poem, but more importantly, asked the students to explore and awaken their life experience. Otherwise, the "frustration" and "disappointment" in students' mouths are just emotional symbols, which can't arouse their inner feelings. Words without emotional experience have no temperature. In teaching, teachers can let students recall their experiences of climbing mountains and feel the frustration of trying to climb mountains but not seeing the sea. At this time, reading will deepen their feelings, and students will "confirm" the content and feelings of this poem with their own personal experiences.
Fourth, the teaching of modern poetry can't rely solely on repeated reading to experience emotions, because concise language will make students unable to find feelings, so when reading poetry, teachers should guide students to "digest" the language of poetry and turn these words into a portrayal of students' lives, so that students will consciously use their own experience to confirm the connotation of poetry and read their feelings when reading poetry. Just like this poem, when guiding students to learn the second part, we must turn the words "Qian Shan is full of water" into difficulties in students' life. Only in this case can we know the importance of "faith" and create the "sea of faith" in our hearts.
Fifth, the study of modern poetry needs accumulation. It is suggested that students should be helped to accumulate poems by reading many times in the teaching process. To truly understand the artistic conception of poetry requires specific situations, and accumulation helps to internalize it. Perhaps the poems accumulated in a certain life situation will blurt out and express their feelings through it.
Therefore, learning modern poetry is neither learning content nor learning knowledge. More importantly, it is a cultural accumulation and an emotional accumulation.
This kind of teaching can achieve the following effects: first, let students experience the process of reading poetry, know how to appreciate poetry and understand the meaning of artistic image. Secondly, it introduces the methods of interpreting poetry: combining the background of the times and one's own life experience, imagining the artistic conception of poetry description, concretizing the image and embodying the image of poetry. Third, I initially felt that poetry has images, which are expressed in various forms, such as:
Quoting, imagining, comparing, rendering, symbolizing, comparing, expressing ambition, etc.
Question 5: How to teach modern poetry is an important part of junior middle school Chinese teaching. As one of the means of literary education, poetry teaching can not only improve students' literary knowledge, but also promote their aesthetic and emotional understanding. Therefore, poetry teaching is particularly important in Chinese teaching. Urban students have good Chinese literacy and extensive extracurricular knowledge, while rural students usually read less literary works and are less exposed to modern poetry, and need the guidance of teachers more. Without the guidance of teachers, modern poetry will almost become a blank for rural students. However, looking at the present situation of modern poetry teaching, due to subjective or objective reasons, there are still many shortcomings and loopholes in modern poetry teaching, mainly two phenomena. One is "lightning teaching". Usually, I often hear some teachers say, "Modern Chinese reading class is not tested now, just mention it casually in class, or even it doesn't matter." And these "modern essays in class" bear the brunt of modern poetry. Indeed, new poetry is rarely tested in the form of reading aloud. More discerning teachers have found that in recent years, new poetry has not even been tested in recitation and dictation, so new poetry has become a forgotten corner in teaching. The first unit of the first two volumes of the ninth grade Chinese textbook published by People's Education Press is the unit of modern Chinese and foreign poetry. Therefore, every time I go to such a "chicken rib unit", I can quickly whip up the whip in class and solve each text in a few words.
Question 6: How to teach ancient poetry effectively? The Chinese subject of Xupo Primary School in Wangshi Central School clearly points out in the new Chinese curriculum standard that the unity of instrumentality and humanism is the basic feature of Chinese curriculum. Chinese course is not only the embodiment of tool, but also the embodiment of humanity. Chinese class should cultivate students' thoughts and feelings of loving Chinese, guide students to understand and use Chinese correctly, enrich language accumulation, cultivate language sense and develop thinking, so that students can have the ability of literacy, reading, writing and oral communication to meet actual needs. Chinese curriculum also attaches importance to improving students' moral cultivation and aesthetic taste, so that students can gradually form a good personality and a sound personality, and promote the harmonious development of morality, intelligence, physique and beauty. It can be seen that instrumentality and humanism are two major attributes of Chinese. Instrumentality is the foundation and humanity is the core. The two complement each other and cannot be separated mechanically. Whether instrumental or humanistic, we should take students as the main body and take their all-round and harmonious development as the basis. In the final analysis, Chinese teaching is for the development of students, to impart knowledge and to cultivate students' Chinese ability. Of course, Chinese class is neither a political class nor a philosophy class. Without the use of language, humanistic education will become an empty sermon. Similarly, ignoring the humanistic spirit of Chinese teaching will also become a word game without soul. Chinese with humanistic spirit will become the most vital subject; Only by infiltrating humanistic education into reading, writing and listening and speaking training can we play a subtle role in educating people. The instrumentality and humanism of Chinese should not be neglected, but should be organically combined and complement each other. 1. Cultivating students' language ability in reading refers to the instrumentality of Chinese curriculum, that is, making Chinese something that can reach the destination. Then the teaching of ancient poetry is the essence of making Chinese reach its destination. The destination of ancient poetry is language first. You know, in China's ancient private schools, even before liberation, Mr. Wang's primary task in educating students was reading aloud. He read Sanzi Jing, Hundreds of Family Names, Thousand-character Works, Travel in Qionglin, 300 Tang Poems, Zhuzi Family Instructions and so on. All the students are asked to remember them. The purpose is to ask students to accumulate language in familiar reading, gradually understand the meaning in familiar reading and gradually understand the general idea of the article in familiar reading. Ancient poems that can be handed down and compiled into Chinese textbooks are not stereotyped writing, but rational tools with expressive expressions and vivid descriptions. They are full of affection, ideology and humanistic care. Therefore, in the teaching of reading ancient poems, teachers should grasp the rhymes, levels, sentence patterns, tastes, emotions, key words and beautiful language features of ancient poems, so that students can taste, ponder and understand them in reading aloud. Students are also required to perceive the content and feelings of poetry as a whole in number reading. Almost all ancient poems rhyme and are catchy to read. In addition to requiring students to read correctly, the charm of ancient poetry is the most important. After all, primary school students' life experience and cultural accomplishment have not reached a certain level, so teachers inject feelings through words in model essay reading, so that poetry can become a thing to reach its destination. Using the instrumental performance of ancient poetry to educate students on the beauty of words, language and thought, therefore, beautiful reading bears the brunt. Such as Thinking of a Quiet Night, Thinking of Shandong Brothers on a Mountain Day, Ode to a Wandering Son, A Gift to Wang Lun, Seeing Lin Zifang at Dawn, and Boating in Guazhou, express profound friendship, affection and nostalgia. When the teacher read the model, he used a slightly slow tone of affection. For example, at the beginning, Xiao Jing sent poems with beautiful natural scenery, such as Lin Zifang, Jueju, looking for flowers by the river alone, chanting willow and chrysanthemum, and recited them in a clear, fast and clear tone. Another example is "A Millet in Spring", "Silkworm Girl", "Lotus Mountain Master in Snow" and "Fisherman on the River", which express the poet's deep sympathy for the unfortunate life of the poor working people, so they read it in a slow and somewhat low tone and reread important words. The farmer is still starving to death. If you are starving, you should read the tone of accusation. Therefore, reading ancient poems well has become a tool to improve students' language ability. Second, it is a tool subject to train students to speak Chinese in detail. As a tool, it first has its forming process. Elaborating all aspects of ancient poetry is the best way to achieve the effect. Ancient poetry is a specific product of that era. Poetry is limited by format and number of words, so it is very concise, and sentences are often omitted. The people and things involved in poetry are beyond the comprehension of primary school students nowadays. Teachers can give full play to the instrumentality of ancient poetry according to the actual situation, and let students do it themselves, collect materials and speak in class, such as the poet's life, background, poems, etc ... >>
Question 7: What teaching rules should poetry teaching follow?
Teaching starts from the hazy beauty, classical beauty and musical beauty of poetry, and the multi-interpretation of poetry is the focus of teaching. The design is exquisite and rigorous, and it is also very innovative and deep. However, after reading this teaching design, I always feel that something is missing. I once again thought of a question: what kind of teaching rules should poetry teaching follow? I have to make it clear at once that my academic ability is difficult to achieve. What I want to say here is that poetry teaching should pay attention to: first, we must not lose the magic weapon of poetry teaching. Many teachers know that poetry teaching should make students read repeatedly and strengthen reading guidance, but it is precisely in this link that we often do not do enough, and Mr. Wu's design is also lacking in this respect. Dai Wangshu's Rain Lane is a lyric poem. There is nothing like reading aloud to let students taste the artistic conception and hazy beauty of poetry, to let students feel the deep melancholy and depressed feelings expressed by poets, and to arouse the rhythm and emotional voice of life in students' hearts! It can be said that the goal of teaching design must be achieved on the basis of reading, and various interpretations of poetry texts must be achieved through students' repeated reading. It can even be said that the teaching of Rainy Lane, even if the teacher does nothing in a class, is to let students read repeatedly, read verve, read emotion, read personality and read feelings, and it should also be a successful class! For example, in the sentence "wandering in a long, long/lonely rain lane", "long, long" uses repeated rhetorical devices. If students can read slowly and properly, they can naturally appreciate the deep emptiness of the rainy lane, and at the same time, they can also well appreciate the poet's deep sorrow and infinite sorrow. In the sentence "She is in the distance silently", if the teacher can guide the students to slow down and read "Far away" in a lost tone, then while reading, the students will unconsciously enter a poetic artistic conception full of the beauty of classical literature, and a beautiful artistic picture appears in front of them: "A girl with a lilac knot" floats away from the poet and gradually drifts away. The poet stopped for a long time, staring at the girl's distant back, his eyes full of infinite melancholy and disappointment. Imagine how many beautiful feelings and fresh thoughts will be produced in such an aesthetic teaching atmosphere! Second, don't "die" clever poetry. The art of poetry lies in meaning; Poetry appreciation focuses on entering the artistic realm created by poetry. Therefore, the most taboo in the teaching and appreciation of poetry is to teach and read to death. The second part of teacher Wu's teaching design is "defining certainty and uncertainty". I think some things are too "real" and "dead". Rain Lane, Lilac Girl, Me and Meeting, including Oil Paper Umbrella and Hedgehog Wall, should be carefully selected by the author with the beauty of China's classical poems. Together, they form a image group, and * * * presents a desolate, cold, light and elegant artistic conception to convey the poet's feelings of hesitation and melancholy. We can't and don't have to distinguish between what is certain and what is uncertain. Similarly, there is no need, of course, there is no reason to say that the carving of characters in poetry is real, and it is even more impossible to infer that the poet's wishes are "illusory" just by the word "hope" for no reason. Third, students must never be taught to be poetry connoisseurs and critics. What is the purpose of poetry teaching in middle schools? I think it is necessary for boys and girls aged 16 and 17 to cultivate their aesthetic interest, improve their aesthetic quality, cultivate their emotional spirit, enrich their spiritual world, inject some pure and elegant things into their young lives, make their present lives more colorful, and make their future lives more noble and refined. Having made this clear, when we teach poetry, we should focus on students' reading taste and experience perception of poetry, respect students' "initial feelings" and let students taste the "first sip of milk" themselves, instead of being instilled or forced by teachers. The poem Rain Lane, the adolescent middle school students, initially felt beautiful love, romantic encounter, love and sadness caused by the encounter, that is, a boy fell in love with a girl, nothing else, really ... >>