Judging from the teaching class of ancient poetry reading, memory occupies a large proportion in the study of ancient poetry. Students have something to say: Chinese learning has three difficulties: one is afraid of writing, the other is afraid of classical Chinese, and the third is afraid of Zhou Shuren.
One of the important reasons why students are so afraid of classical Chinese, which accounts for the bulk of China's ancient poems, is that some classical Chinese are obscure because of their long history, and teachers' improper teaching methods emphasize memory unilaterally, ignoring the understanding of the content, theme and background of the article. It is understandable to attach importance to endorsement, but it is a great sin to treat students' interest in learning ancient poetry rigidly.
2. Pay attention to exams and neglect self-cultivation. In practice, many teachers pay more attention to the mandatory items in the senior high school entrance examination and spend more time on the interpretation and translation of the words and sentences in the mandatory items. For the understanding of the content of ancient poetry, there are not many associative studies on related items.
In students' reading field of vision, ancient poetry and prose are independent individuals, not the same body with the same blood and texture. Teachers often decide their teaching focus by studying the characteristics of the test questions in the senior high school entrance examination rather than according to the characteristics of the articles.
3. Pay attention to cross talk and misreading. Crosstalk is very popular in middle school ancient poetry classes.
Although crosstalk has its unique advantages, it not only shows the lack of teachers' teaching ability, but also greatly reduces the efficiency of students' listening. Let students form a mindset: think that ancient poetry learning should be like this, and ancient poetry learning is rigid.
Enlightened teachers admire singing and reading, and think that Mr. Shou Jason Wu's gesture of bowing his head in the reflection of the moon in the three pools is very vivid and is a symbolic reading gesture. In fact, students' reading ability can not be cultivated by singing and reading slowly, shaking their heads, reading stiffly and straight, and reading stiffly and indifferently.
From the above, we can easily see that it is time for teachers to change their teaching methods in the process of reading ancient poems. Judging from the teaching content, it is even more absurd.
In the teaching practice of ancient poetry reading in China, teachers are often at a loss when faced with articles containing words, sentences, language and logic. Either teach everything and cover everything, or look around and let go blindly.
In fact, Chinese is not only a knowledge subject, but also a practical subject. The purpose of Chinese learning is to develop wisdom skills (especially in the teaching of ancient poetry and prose), and the key of teachers' teaching is to give students the wisdom skills to analyze, understand and appreciate the ideological content and language form of poetry and prose.
To achieve these skills, teachers must take aesthetic reading methods and practices as an important part of classroom teaching and teach students how to read ancient poems. From the point of view that teaching is to achieve the purpose of not teaching, the classroom of ancient poetry reading teaching needs to change from the indoctrination of declarative knowledge to the understanding and mastery of procedural knowledge.
Guiding students to learn French is an important part of Chinese reading teaching. When determining the teaching content, teachers should not only pay attention to the translation and understanding of words and sentences, but also pay attention to the analysis of the content, significance and background of the article. Instead, we should determine our own teaching content on how to guide students to learn and read ancient poems beautifully.
Guiding aesthetic reading is an indispensable part of teachers' teaching and should be the primary teaching content of teachers' ancient poetry teaching. Beautiful reading helps to form methods.
Chinese Curriculum Standard emphasizes in the overall goal of the course that students should form a good sense of language and learn to use a variety of reading methods. This variety of reading methods certainly includes the reading methods of ancient poems.
However, the Chinese curriculum standard only requires reading simple classical Chinese with the help of reference books. In fact, reading with reference books can only remove reading obstacles, but it really can't achieve the purpose of cultivating students' thoughts and feelings of loving the language of the motherland, enriching language accumulation, cultivating language sense and forming good study habits.
Therefore, teachers must find a breakthrough to guide students to read ancient poems. Students' favorite language of the motherland includes not only modern and contemporary Chinese of the motherland, but also ancient Chinese, which is what we usually call ancient poetry.
Cultivating the basic methods of learning ancient poems is the fundamental requirement of Chinese curriculum standards and the unshirkable task of Chinese teachers. But the average Chinese teacher still follows the simplest and most elementary method for students to learn Chinese, that is, using reference books to let students understand the general idea of ancient poems.
As for the feelings, attitudes and values behind the article, teachers often do it themselves. The separation of this method makes the reading class of ancient poetry inefficient, and students can't master beautiful reading methods, nor can they draw inferences from others, let alone appreciate the emotion, interest and reason of the text.
Beautiful reading can encourage students to listen to rhyme and know meaning. As we know, in addition to the negative factors that make it difficult for students to understand because of the age, ancient poetry also has distinct characteristics such as conciseness, fluency and harmony in rhyme and meaning.
Let students read beautifully, which can not only reproduce the rhythmic beauty of Chinese, but also feel the image beauty and situational beauty conveyed behind words and sounds through tacit understanding. For example, some teachers teach night tours in Chengtian Temple, and adapt a narrative into groups of short sentences, which are deformed and combined into a narrative poem.
By reading the key words in short sentences, students can not only understand the author's hurry to enjoy the moon and find friends, but also understand the moonlight picture as clearly as practice, and the idleness and freedom in it are also understood in the beautiful reading appreciation. Compared with the so-called three or four interpretations of idle people obtained by labeling, this feeling is not only true, but also impressive.
Beautiful reading can guide students into the text. The reading process of beauty is the process of readers entering the text and the author.
In this process, readers meet the text spiritually and explore the beauty of the text with their own pace of life. The prose of ancient poetry has a unique literary spirit and sentimental spirit. Beautiful reading means that readers are immersed in emotions, from pleasing to pleasing, from pleasing to spiritual pleasure.
For example, when Mr. Yu Yingchao was teaching the Three Gorges Project, he didn't covet the superficial excitement like some teachers, but showed considerable composure and meticulousness, and put aesthetic reading into practice as an important part of students' writing. He not only asked students to read aloud with phonetic notation, but also asked them to read the translation.
He guides the study.
2. How to teach the concept of "prose" in junior high school Chinese curriculum system with Chinese flavor in prose teaching: it belongs to the category of literary works, but it is not limited to narrow artistic prose and "pure prose". It is those works with literary color and obvious image, emotion and aesthetic characteristics, not novels and poems. It includes articles on narrative, landscape and philosophy. Since it belongs to literary works, our prose reading teaching is positioned as aesthetic reading, rather than information reading that focuses on information screening and processing. Therefore, the key to prose teaching is not to grasp the characters, but to find the sentence that the author wants to say most. Prose teaching should teach Chinese flavor, so what is Chinese flavor?
The so-called Chinese flavor means that Chinese classes should highlight the characteristics of Chinese teaching itself, and devote themselves to the formation and development of students' Chinese literacy through emotional stimulation and language taste, so that they can constantly enrich their humanistic spirit while mastering the important communication tool of Chinese.
I think we should do the following to teach the Chinese flavor of prose:
1. Appreciate the beauty of prose language and emphasize the training of reading aloud.
Qin Mu said: "Literary talent also produces artistic charm and writing interest. Rich vocabulary, vivid spoken language, sonorous syllables, appropriate even sentences, vivid descriptions, wonderful overlapping sentences ... The cooperation of these things will increase the interest of writing. " She Shusen said: "The language of prose seems to be a little heavier and more embellished than novels, and a little lighter and more natural than poetry. It is simple and chic, simple and beautiful, and has a natural charm. " It can be said that its beauty lies precisely in this massiness and lightness, between sculpture and nature.
"A Chinese class without reading aloud is just a class, not a beautiful Chinese class. In Chinese class, teachers must listen and read beautifully with students "(Yu Yingchao).
Through reading training, students can understand the main idea, thought and implication of the article from prose, which not only edifies them, but also exercises their ability to describe things and express their thoughts with sound. At the same time,
Teachers can test students' mastery, emotional tendency and cognitive level of articles by reading aloud, so reading aloud training, as one of the basic contents of prose teaching, is an important link in imparting Chinese flavor in prose teaching.
Second, read and appreciate the language to nourish students' emotional interest.
Language shapes the image, and "words must be done". In prose teaching, we should grasp the classic language, exquisite language and key language in the article to guide students to read and appreciate. The emotional interest contained in the language will infect and cultivate students through reading and appreciation, thus enriching students' emotional interest.
For example, when teaching the composition "Qinghai Lake, Wonderful Lake", guide students to read "My eyes are a green grass beach with rows of rape flowers in Huang Cancan, and behind this green yellow, there is endless clear water. It is as blue as the ocean and purer than the ocean; It is as blue as the sky and darker than the sky. The blue of Qinghai Lake is clean, deep and elegant, and there are slight ripples on the blue brocade-like lake. Like a little girl's watery blue eyes. " Let the students understand that the dream of Qinghai Lake is magical and beautiful, but it is also illusory. Qinghai Lake has intoxicating beauty. This is a masterpiece of nature. This is a real beauty, but as wonderful as a dream. This paper focuses on the word "dream". From the title to the content, the beauty like "dream" and the emotion like "dream" are always closely combined with the attractive charm of Qinghai Lake.
Only by combining the principles of prose teaching with Chinese teaching can scholars really learn to read prose.
3. What are the references for junior high school Chinese reading teaching [1] Li Guodong. Theoretical Dilemma of Reading Teaching, Chinese Teaching Newsletter, No.5, 2007 [2] Yi Hao. Analysis of Chinese reading teaching in middle schools under the guidance of constructivism, Exchange of Scientific and Educational Documents, No.0 1 2007 [3] Zhong Wang. China Science and Education Innovation Herald, No.455, 2007 [4]: On the reference of Zhu Zi's reading method to Chinese reading teaching in middle schools; Educational Theory and Practice, No.2007 10 [5] Zhao Nianxiu: On Ye Shengtao's reading course; Journal of Hunan First Normal University, June 2007 [6] Feng Wenda: On. August 2007 [7] Wang Aidi. Reading methods that American junior high school students should master, Chinese Teaching Newsletter, No.2007 1 issue [8 Chinese Teaching Newsletter, No.3, 2007 [9] Zhang. Prejudice and exploration of Chinese reading teaching in middle schools, Modern Chinese, No.4, 2007 [/kloc-0] Chinese Teaching Newsletter, No.2, 2007 [12] Chen Yizhen: Strategies for Personalized Teaching of Chinese Reading in Middle Schools, Teaching and Management, May 2007 [13] Zhang Xianying: On Personalized Teaching Strategies in Chinese Reading Teaching in Middle Schools, Chinese Studies, May 2007 [6503]. Chinese Construction, No.7, 2007 [15] Wang Chuanlin: Exploring the text meaning in Chinese reading teaching in middle schools, China Off-campus Education, February 2007 [16] Qu Weizhong: Strengthening the original feeling of reading teaching, Chinese Teaching Newsletter, No.5, 2007 [65436]. Chinese teaching in middle schools in September 2007 [18] Yu Yingchao: Research and practice on "main problems" in reading teaching, Chinese teaching in middle schools in September 2007 [19] Chen Xiaowen: problem design in Chinese reading teaching, New Chinese Learning, No.3, 2007 [29]. August 2007 Chinese teaching in middle schools [2 1] Li Zhiqing: Design strategy of classroom activities in reading teaching, Chinese construction, No.7, 2007 [22] Qin Changli,: Using clues to influence the whole text-Examples of several skills in reading teaching design, New Learning of Chinese, No.65438, 2007+. Examination, No.2, 2007 [24] Yu: Skills training: the theme of reading class, Chinese teaching in middle schools, June 5438+ 10 [25]. On the characteristics of reading teaching language, Chinese construction, No.3, 2007 [26] Zhou Xiufang: Chinese teaching newsletter, No.2007. September 2007 [28] Wang Yonghong: On the Construction of Chinese Reading,No. 1 issue, 2007 [30] Zhu Congguo: Taking test questions as teaching materials-some practices of modern Chinese reading teaching in senior three, new language learning,No. 1 issue, 2007 [31. Chinese teaching in middle schools in May 2007 [33] Gui Qian: Reflections on Chinese annotation reading teaching in middle schools, Science and Technology Information, No.9, 2007 [34] Happy spring: A preliminary study on divergent thinking training methods in Chinese reading teaching in middle schools, Examination, No.8, 2007 [35] Beixue: Reading teaching, teaching with life. "New Language Learning" No.2, 2007 [36] Yu Yingchao, etc. Series of lectures on teaching design of thematic unit reading, Chinese teaching newsletter, 2007 [37] Yu Yingchao. Taking reading as an example to talk about poetic skills of teaching design, Chinese teaching newsletter, 2007 [38] Li Yingjie. Causes and countermeasures of inefficient reading teaching, Chinese construction, No.9, 2007 [39]. 2007 [40] Chu: Reflection on reading teaching under the background of new curriculum reform, Chinese Teaching Newsletter, No.2, 2007 [4 1] Lin Yada and Zhu Yuxin. Chinese teaching in middle schools in March 2007 [42] Liu Shuai: worrying reading formulation, Chinese Teaching Newsletter,No. 1 2007 [43] He Jianying: Reading class, reading, speaking? New Language Learning, No.2, 2007.
4. Who can send a teaching record of Stomatology, that is, Yu Yingchao's teaching record of Stomatology in Chinese textbooks? Teacher: Now we have class.
Student: (Bowing) Hello, teacher! Teacher: Please sit down! Today, we study "Stomatology". The teacher wrote six words. Read them. Student: (Read together) Read aloud, appreciate and accumulate! Teacher: Read aloud, read aloud; Appreciate, put our eyes into the depths of the text (gestures naturally fall from the eyes to the podium book); Accumulate, do the intelligent exercises given to you by the teacher, understand and classify.
All right! Let's start reading the text (from the podium, into the ranks of students). The article Stomatology is about the life of an ancient artist-a performer without a name. The author's pen records his superb skills.
Read the article first. Why do you have to "make a fuss" if you want to see it? Only when you enter the text will you feel the expressive force of ventriloquism.
I started-(I looked at all the students and wanted to make a fuss. (This is the beginning of the class.
No branches, no vines, straight to the point. First of all, explain the learning tasks and methods of this lesson, and the goal is very clear.
Reading aloud is the first requirement for students to read. In this way, students are brought into the text, entered the situation, and prepared for the next link of learning.
Teacher: ok, stop, there is still a big gap between what you read and the teacher's requirements. Next, read it again and ask for clear pronunciation and mellow voice; Why do you read it like this? Because people are performing ventriloquism and giving the audience a sense of music. Now we should use voice to express ventriloquism performance, and every word should be round and powerful.
Teacher, demonstrate the first paragraph: There are good/ventriloquists in Beijing. In the northeast corner of the hall, an eight-foot barrier was erected for the banquet/guest banquet. The ventriloquist sits in the barrier, with a table, a chair, a fan and a ruler.
Students can read freely and try to read clearly and comprehensively. ) teacher: ok, let's try again.
(Students read it together) This time it's much better, but the word "sh ao" is not pronounced Sh ao, but sh m: o, "It's a little late, but when I hear the obstacle, I touch my foot and fill it …" (The teacher reads like a storyteller, with a good sense of urgency and clear pronunciation). Reading aloud with clear pronunciation and mellow voice is the second requirement for students to read.
Teachers should set an example first, so that students can set an example. Then let the students try to read collectively on the basis of free reading, and the teacher comments and corrects the students' reading mistakes.
Reading training is practical, and students are more familiar with the text. Teacher: Next, let's do it again. This time, we need to read clearly. Just a hint: the second paragraph and the third paragraph are divided into two layers. Where did they part? The teacher doesn't know, you know.
After a while, the boys stopped after reading level one, and the girls continued reading. Think for a moment and draw a circle. )
Teacher: The tone is still clear pronunciation and mellow voice: "If you hear a dog barking in a deep alley, women will be shocked and feel that they are not qualified …" (The teacher demonstrates reading aloud) This is clear pronunciation and mellow voice. Boys stop after reading the first floor. This is called "Qiao". You have no agreement, but at the same time, you have to stop. (Boys read, girls continue to read. )
Teacher: "all the guests are full of necks, staring sideways and sighing silently, thinking it is wonderful." Why do boys know to stop here and why do girls know to pick it up here? Let's read the third paragraph again.
(Girls read first, boys read again. ) health 1: because the front is the voice imitated by ventriloquists, and the back is the feeling and appreciation of the guests present.
Teacher: This analysis has not reached the most accurate place, so we should think it over carefully. Just a hint, from a descriptive point of view.
Health 2: The front is a positive description, followed by a side description. "Hierarchical" reading is the third requirement for students to "read", which requires students to further understand the text on the basis of being familiar with the content of the text, and to preliminarily analyze the text on the basis of understanding the text.
Teacher: The basic writing of the work "Mouth Skills" is: where there is a positive description, there is a side description, which is the basic feature of this article. Read the fourth paragraph again and read it in a hurry. Some places read fast, while others read slowly. Let's experience it and see what happens in this paragraph.
Teacher: OK, let's do it together. Teacher: The fourth paragraph is very important. We should read clearly and speak quickly at the same time. What sentences and places do you think should be read faster? Health 3: I think you should read faster when you imitate various sounds in the back.
Teacher: You should read the fire scene quickly. Where should I read more slowly? (The teacher approaches to communicate with the students) Student 4: The performance of the guests behind.
Side contrast performance, as well as comments between authors. Teacher: Evaluate you again. You read too carefully. You should read aloud.
Look at this: "Suddenly, a big shot got angry", and the fire scene should be read out. Go straight down here until "everything has everything" gradually slows down. Try it together.
Teacher: Some students mispronounced the word "married with children". Listen to the teacher, "Suddenly a person shouted' fire', the husband shouted, and the woman shouted.
Two children cry together, a hundred people shout, a hundred children cry, a hundred dogs bark ... "... try again and turn on your voice! If you are born and study together, you can gradually get sick from reading. )
Teacher: Let's do it again. You read the first level, I read the second level. Tell everyone to stop at the "splash". The front is description, followed by discussion or comparison. It should be louder. Students read the first floor, and teachers read the second floor. This connection is very natural. )
Timely reading is the fourth requirement for students to read, and rhythmic reading is carried out on the basis of in-depth understanding of the text. In this session, students read aloud while analyzing, and reading is getting better and better.
At this point, we can see that the teacher carefully designed the reading link of the text, and the four requirements are clear and gradient. "heated discussion" requires students to be loud and dedicated; "Clear pronunciation and mellow voice" requires students to articulate clearly and be full of emotion; "Clear hierarchy" requires students to wear articles and enter the artistic conception, from the outside to the inside; "Priority" means asking students to enter the situation and read their feelings.
This is the first part of this course. Teacher: OK! Let's stop here.
For another exercise, please take out our "classroom intelligent homework" and practice in groups. (The students took out the "Classroom Intelligent Homework" issued by the teacher. )
Intelligent Homework in Stomatology This is an "intelligent homework" in words. practice
5. How to use the art of "blank space" in classroom teaching Nowadays, classroom teaching, especially Chinese classroom, often pursues large capacity, fast pace and high density.
Some teachers, even some regions, regard this as an important criterion to evaluate the effect of Chinese classroom teaching. The author's view on this is: it may not be good.
Whether the content of classroom teaching is large, whether the teaching pace is fast and whether the training density is strong depends on the acceptance and effectiveness of the teaching content by the learning subject, rather than pursuing superficial form. As far as Chinese classroom teaching is concerned, the author thinks that blindly pursuing the characteristics of large capacity, fast pace and high density is contrary to the characteristics of Chinese education, which is not conducive to students' improving Chinese literacy through repeated recitation.
In view of the current impetuous teaching situation, the author thinks that Chinese classroom calls for art to leave blank. First, the artistic embodiment of blank space and its basis "blank space" is originally an important creative (composition) method and concept of Chinese painting. It means that white is black, which can receive the artistic effect of combining reality with reality and create an artistic realm without painting.
Blank is a creative expression based on artistic imagination. It pays attention to the combination of reality and reality, the creation of nothingness, the change and echo between blank and entity, and blank and blank.
This echo is expressed by trends, actions and expressions, thus forming a harmonious relationship as a whole, breaking through the two-dimensional space of paper and obtaining a highly layered three-dimensional effect. People even use blanks to replace entities such as running water and heaven and earth, such as creating a unique expression of "empty water method". The charm of flowing water is interesting, without any romance of pen and ink, and the use of blank space can be called the pinnacle.
For example, Ma Yuan, a famous landscape painter in the Southern Song Dynasty, painted a picture of a boat floating on the water, a fisherman sitting on the boat fishing, and the surroundings were almost blank except for a few microwaves. Nevertheless, it provides the audience with a far-reaching artistic conception. Qi Baishi painted shrimps, often a few lively and exquisite shrimps.
Mr. Qi's paintings are empty and intentional everywhere, ethereal and secluded, and the virtual and the real set each other off, showing the width of heaven and earth between square inches. "It is the land without ink, and the smoke is boundless." There is a blank in the picture, just like the high sky or empty background in the photo, which is much more comfortable to stay in front of you.
Not only Chinese painting, but also some other arts pay attention to the use of blank space technology. Calligraphy art uses lines to express meaning, but calligraphy works pay attention to the density of composition and layout, and the dead pen in the works is actually blank.
China's seal art emphasizes that "sparseness is feasible, while secrecy is airtight", and its sparseness is also the embodiment of the art of blank space. Ouyang Zhongshi, a famous calligrapher, felt that the arrangement of the four words in his name could not achieve the beautiful effect, so he asked his teacher, Mr. Qi Baishi, who suggested that he compress the word "Zhong Shi" to the size of one word and put it in the upper left corner of the seal, leaving the lower left corner vacant.
Ouyang Zhongshi used this seal in his later calligraphy works, which shows his appreciation of this seal. This is a successful example of blank space in seal art.
Music takes rhythm and melody as its expression language, but it also pays attention to the artistry of blank space. "Silence is better than sound" (Bai Juyi's Pipa) is a blank in music, and this blank of pipa girl gives Jiangzhou Sima endless imagination space; "Echoes reverberate around the beam for three days" (Liezi Tang Wen), which is also the artistic effect of blank music.
Speaking of blank space, we have to trace it back to Laozi. There is a saying in the Tao Te Ching: "A loud voice makes an elephant invisible" (Chapter 41). This kind of "voice of hope" and "invisibility" is a philosophical basis of "leaving blank", which has a great influence on later generations, and gradually formed the artistic spirit of China's art that emphasizes leaving blank and uncertainty.
On the other hand, after Buddhism was introduced, it had a close relationship with Taoism in China and evolved into Buddhism-Zen in China. Void is also one of its basic meanings.
In Zen, understanding Buddhism pays attention to wisdom, which refers to the material basis involved, but pays more attention to "enlightenment". Wisdom is the spiritual guarantee in the process of meditation. Buddhist enlightenment can be divided into gradual enlightenment and epiphany.
The disciples of Hongren, the fifth ancestor, advocated gradual enlightenment, while Huineng advocated epiphany (the Six Ancestors Tanjing). Zen master Huineng, the sixth ancestor of Zen Buddhism, won the Buddha in one fell swoop and was praised by Zen master Hongren.
Young Huineng is in charge of the rice industry in the temple, winning with "Bodhi has no trees, mirror is not a stage, nothing is empty, where there is dust". It is a model of "epiphany". The "gradual realization" and "epiphany" here are actually gaps in thinking.
Literati of all ages obtained artistic methods from the dialectical relationship between "emptiness" and "reality", so they found the beauty of blank space. Such as "implication", "implication beyond rhyme" and "implication beyond taste" are all clear annotations to the artistic law of blank space.
Mr. Lv Shuxiang once said: "Chinese teaching is half science and half art" (quoted from Yu Yi and Chinese Teaching, page 84), among which artistry can be described as the highest realm of Chinese teaching.
The teacher himself once said that "Chinese teaching should pursue the intangible artistic realm of elephants", and Mr. Hong also said that "teachers should use their own teaching art in limited space and time to develop students' infinite thinking ability and introduce students into the kingdom of positive thinking" (ibid.). Furthermore, the essence of Chinese learning is the process of students' thinking activities.
Therefore, no matter from the artistic pursuit of teaching or the thinking process of learning, Chinese teaching should pay attention to the design of "blank space". Second, the Chinese classroom, calling for artistic blank (1) "artistic blank" is the feature of the work itself. Hemingway, a great writer, said that literary creation pays attention to the iceberg principle. The writer only shows the tip of the iceberg in the article, and readers need to go through one-eighth of the water to see seven-eighths of the water.
This sentence vividly reveals the law of blank space in literary works. In many literary works, the author does not comment on the people, events and scenes in the works, but leaves a large blank for readers to have different views.
For example, in The Necklace, the author did not comment on the behavior of the protagonist Mathilde, but after it was included in the textbook, some people kept discussing its theme. There are still different views on the theme of Li Shangyin's Jinse.
This is certainly more.