I felt a little guilty when I participated in "Spring and Snow in Qinyuan", because there was a question that I was completely sure when I was about to step onto the podium. It's true that faculty members talk freely, but I think it's just empty talk. And what I already have is weird and unconventional. I often appear in this state in teaching, which I call the "cliff state" of reading-I am eager for a new leap but have no solid land as the foundation. Everything needs to be proved by the immediate generation and development in the classroom-whether it is to break through the source of thinking or encounter embarrassment, I think only the children's reaction in the classroom is qualified to make the final judgment on this issue.
As expected, for a child who is "well-trained" in asking questions, this is not a deep-seated problem, and it can't escape their eyes.
In fact, this question is not new. The contradiction we are facing is: What is Mao Zedong's attitude towards ancient heroes?
The simplest statement is of course-regret. Traditional teaching requires teachers to grasp the key words of "pity", "slight" and "slight", so that students can understand that Mao Zedong is mainly positive to ancient heroes, and his regrets are only "slight" and "slight".
This explanation is of course materialistic, which embodies the thinking style that the old people in Mao Zedong have always emphasized: seeking truth from facts and splitting into two.
But the students feel as uncomfortable as I do. What they asked in class is exactly the same as what I thought when preparing lessons: I still feel sorry for Genghis Khan and Mao Zedong, but he totally denied it! Because it is clearly written in the article: I only know how to shoot an eagle with a bow. A "unique" or "regret"? As for "The Past Like Smoke", it is simply a total denial of all heroes of past dynasties. Is this still "regret"?
The teaching staff didn't seem to realize this problem, and wrote:
As for Genghis Khan, if he wants to suppress before promoting, in the ups and downs of literary trends, he not only has a sense of regret, but also uses the word "only knowledge" with irony. "Bending and Carving and Shooting a Big Bow" vividly shows the image that Genghis Khan only relies on martial arts and doesn't know how to cure it.
This passage makes me confused. Is it because of this sentence that Mao Zedong's "praise" to Genghis Khan can be confirmed? Throughout the poem, there is nothing but praise except "derogatory" to Genghis Khan. Why do we write Chairman Mao so "rationally and objectively" in this poem?
The Senate can't convince me. Of course, the children have never met the faculty, but they are not convinced by the explanation that "poor" has to try to "shoot an eagle". They think that Mao Zedong just denied Genghis Khan. I recognize this feeling in my heart, because this is also my feeling. But according to our feeling, won't Mao Zedong become an arrogant and irrational person? Is this interpretation reasonable? This is really a "cliff experience"! Although walking on thin ice, I still have some expectations, because at least in the text itself, I can't find anything new for the time being.
I decided to throw my killer carefully and happily. This is an adventurous move, and it is a "cliff choice" for me to think in a cliff state. If this choice can't arouse students' thinking, then this move is meaningless.
I said, "Students, this question is somewhat puzzling. How can Chairman Mao mercilessly criticize Genghis Khan without giving him the same treatment as his predecessors such as Tang Zongsong, Qin Huang and Wu Han? Let's go back to the creative scene at that time and experience the mood changes of the old man when he created the word, and then see if we can find the answer from this angle. "
The students are confused. What age is it? How can I go back to the creation site? Is there really a time tunnel?
I smiled and said nothing. I guide you to open the first page of the textbook, which is Mao Zedong's calligraphy "Spring and Snow in Qinyuan".
I said, "Son, calm down and feel it. What can you feel?"
There was a brief silence in the classroom But it was soon broken by enthusiasm.
Grain Rain said, "I can see that, Miss Wang, this calligraphy is written by a hero."
Hu Yingjian said: "I feel heroic and domineering. The words on the handwriting are not easy to recognize or even recognize, but Wang Yang is full of pride, imposing and heroic. "
Li Xiang said: "It's not writing at all, it's emotion pouring out."
I said, "Nice review! We should also carefully observe and understand the changes in the whole writing process. "
Grain Rain jumped up at once: "Miss Wang, I found it, I found it! Mao Zedong has been very excited, but he is getting more and more excited. Look at his handwriting. Since Qin Huang Hanwu, the power of writing with a pen has increased and the speed has increased. This proves that Mao Zedong's mood has reached a climax at this time, and his calligraphy has revealed his uncontrollable excitement. If he was just excited at first, then he really boiled and burned ... "
Grain Rain gushes, butterflies fly, and here is a chirp.
I was shocked, too. I looked at this young and intelligent face in front of me, flushed with new discoveries, and my heart was mixed. Fortunately, my feelings are the same as those of the children-flawless.
If we interpret "only know how to shoot an eagle with a bow" from this angle, all doubts will be solved.
Yes, Mao Zedong is a rational leader, thinker and historian. He can't deny the contributions of Qin Huang Hanwu, Tang Zong Song Zu and Genghis Khan. That's why he had the previous "pity", "slight" and "slight".
However, in this poem, Mao Zedong not only entered his own creation as the leader of the * * * production party, but also entered his own creation as an ordinary scholar and author. He is a passionate poet. He took his own life and blood as words, shooting first, then smoking, and then spraying. In the process of his passion burning gradually, he was irresistibly in an explosive state-the emotional explosion made him temporarily "lost" in reason, and at the specific moment of creation, passion made him an "arrogant" Mao Zedong.
At this time, he was a real literati poet, not a politician who needed to choose his words carefully. He writes poems with a wild life. He growled like the Yellow River. He roared in the air, earth-shattering: all over the world, who else but me?
Bloody, "only know how to shoot an eagle with a bow", one move is not enough. Say it again: all gone! History is gently erased like a spider silk written by a hero.
This is the cry of life-no scruples, only venting! This is the impulse of a warm-blooded person to rewrite history!
This is also the most touching reason of Qin Xue-because it is an undisguised creation!
Only in this way can Mao Zedong walk off the altar and enter the reader's heart. Only in this way can the literary spirit of Qin studies be integrated with the literary context, and the literary character can be integrated into one.
In the past, Mao Zedong was defined as a visionary politician. Isn't this perfect interpretation of the label a manifestation of the "pseudo-sanctification" that Han Jun once vigorously criticized?
In fact, as a hero who is determined to "change the world", such "losing his mind" and "passion" can be found everywhere in Mao Zedong's poems. Admitting such "loss" is essentially acknowledging Mao Zedong's creative right and expression right as an ordinary reader. This is a respect for people and an interpretation of the humanization of the text.
My students and I started "cliff thinking" from "cliff doubt" and finally got "cliff interpretation" Take a picture of calligraphy as the ladder of interpretation, question the generation problem independently in class, and skillfully solve the reading difficulties. This "cliff thinking" is not only exciting but also wonderful!