Reflections on the teaching of "Looking at the Moon on Fifteen Nights" 1 Poetry teaching has been a difficult point since I started teaching. First of all, it is not much different from modern literature. Secondly, the language of poetry is concise and meaningful, so it is difficult for students to understand the artistic conception through short sentences. Thirdly, the appreciation and evaluation of vivid words is also a difficult problem. In a word, the difficulties before me are self-evident.
Difficulties belong to difficulties, but we still have to face them. This week, I'm going to chew on the hard bone of three Mid-Autumn Festival poems. I made full preparations before class and made great efforts in preparing lessons. First of all, I clarified the development of poetry and the differences between classical poetry, Yuefu poetry, modern poetry and new poetry. Through consulting materials, I learned about the author and writing background, especially about Su Shi's life. Then carefully study the interpretation of teaching reference books, especially the appreciation of keywords. So I started to write instructional design by hand.
The design idea of "Looking at the Moon at Fifteen Nights" is like this. First of all, in the lead-in session, I led to the topic: "Students, the Mid-Autumn Festival is a day for family reunion. Can everyone be reunited with their families? Who can't be reunited with their families on this day? " Aroused the students' argument. There are soldiers guarding the frontier, angels in white saving lives, and students studying abroad ... At the beginning of the class, the students were immersed in deep depression and regret. In ancient times, many people could not be reunited with their families. Let's follow Wang Jian back to the Tang Dynasty and see how they expressed their thoughts when they couldn't get together.
In the second part, I focus on guiding reading, from shallow to deep, breaking sentences first and marking stressed words; Pay attention to tone; As the multimedia equipment just broke down, it brought me great difficulties. What if I can't play the soundtrack? I read aloud with emotion first, then the students read aloud individually and in groups, and then the groups recommend the best reading in the class. In this process, we discussed the pronunciation of some words. Especially after reading skillfully, please close your eyes and imagine what you see and feel in the picture. The students began to talk noisily again, such as moonlight in the yard, lonely crows, osmanthus trees wet with dew ... I was glad to hear that the children decorated these images. So I followed suit and began to associate with it. I found a sentence with the same effect as "Li Bai" from the ancient poems you learned. Many people raised their hands. How to treat "suspected frost on the ground" and "osmanthus tree" Some people say that Chang 'e is also homesick for her relatives.
At this point, I think I have succeeded. Students can feel the cold atmosphere and realize the loneliness that the poet can't reunite with his family on the bright moon night. Naturally, the understanding of the last two sentences is very easy. However, the beauty of the word "left behind" in I don't know whose home it is, we can't express it accurately, and we need to explore it in future classes.
Reflections on the teaching of ancient poetry in "Looking at the Moon on Fifteen Nights" 2. The teaching of ancient poetry has always been a major difficulty in reading teaching. Few people pay full attention to the classroom teaching of ancient poetry and conduct in-depth research, which leads to monotonous teaching form and lack of innovation. The teacher seems to have nothing to do but let the students read and recite. Moreover, because the content of ancient poetry spans a long time and space, and students have a shallow experience background, it is often difficult to produce * * * sounds with poets. In this class, the teacher used the music integrated with the artistic conception of poetry, vividly reproduced the picture of poetic artistic conception, and organically combined them to help students feel and understand poetry. In this case, the teacher fully mobilized the students' existing life experience to understand and appreciate the language, and helped the students to better transfer their emotions and talk to the poets, so as to have a deeper understanding of poetry. When the plane poem is guided by the teacher, the students' life reappears, producing vivid pictures and touching melodies, which students can put into, feel what the poet feels and think. Poetry deeply touched teachers and students, so that in class, students and teachers were moved by this scene and couldn't help crying.
Finally, the teacher also guides students to enter the realm of poetry, read the whole poem and experience poetry. Students read poetry and understand the thoughts and feelings expressed by poetry through colorful chanting. In this class, the teacher pays great attention to guiding children to read ancient poems repeatedly, so that children can appreciate good sentences, experience emotions and enter the artistic conception in various forms of reading. This is what the new curriculum standard requires: to experience emotion and comprehend content in the process of reading.
After listening to this lesson, I deeply realized that under the educational concept of the new curriculum reform, teachers' ideas have undergone fundamental changes, forming a new view of teaching and students. Fully embody the teaching principle of people-oriented and reading-oriented. Only in this way can students' emotions be sublimated.