Classical Chinese is the crystallization of ancient people's thoughts and wisdom, the concentration of traditional culture, and the best in the treasure house of literature. It records the track of historical development, displays the inside information of traditional culture and exudes the fragrance of humanistic spirit. Middle school students reading more classical Chinese can not only increase their language reserves and improve their composition layout ability, but also increase their knowledge of history and culture, enhance their humanistic quality and improve their aesthetic appreciation ability. Specifically:
Learn ancient Chinese and enhance your ability to use it. Classical Chinese handed down from ancient times are mostly model essays with both literary quality and beauty, with rich and implicit meanings, delicate language, concise colors and figurative metaphors. For example, Zuo Zhuan, Historical Records, and Li Bai's poems are fresh and elegant. Middle school students often read China's classical poems, and some subtle fixed phrases and philosophical sentences will naturally enter their language library. In a subtle way, students' language will naturally enrich their images. Furthermore, the ancient people's attitude towards language "language is not surprising and never stops" is bound to affect middle school students, so that they will gradually develop a good habit of scrutinizing words and expressions, and maybe they will "get two sentences every three years, cry twice" or "sing a few stems", which should be "beneficial and harmless" to modern Chinese writing. Many modern and contemporary literary masters, such as Lu Xun, Mao Dun and Feng Jicai. The familiarity, sharpness, profundity and sophistication of the language of his works may also benefit from his constant reading interest in classical Chinese for many years.
Learn the idea of ancient Chinese and improve the level of composition. When writing articles, the ancients attached great importance to the layout and integrity of the articles. There are cleverness in ups and downs, truth in implication, prudence in simplicity, and image in simplicity. Some "set up a film with points and areas", taking the full text as a whole, such as Xun Zi's "Persuading Learning" and Su Xun's "On Six Kingdoms". Some twists and turns, such as Pu Songling's "Promoting Weaving" and Sima Qian's "Hongmen Banquet". Some use scenery to write feelings, such as Wang Xizhi's Preface to Lanting Collection and Su Shi's Red Cliff Fu. Some people regard the small as the big, such as Zuo Qiuming's The Battle of Dishes, Liu Zongyuan's The Snake Catcher, and so on. Ancient poetry and prose provide excellent writing examples and exquisite conception skills for middle school students. Middle school students often read, think quickly and write like a spring. Over time, their writing level will naturally have a qualitative leap.
Learn history and culture, and increase the accumulation of humanities. Classical Chinese is an important carrier of China traditional culture. Middle school students reading more classical Chinese can stimulate their enthusiasm for loving and inheriting the excellent traditional culture of the Chinese nation. Can you not marvel at the exquisiteness and strangeness of the tortoise shell skeleton? Facing the Great Wall stretching across Wan Li, can you not be proud? In the face of Qin Huang Hanwu's great achievements, can you not be excited? Mr. Ye Shengtao once said: "An educated person must understand the inherent culture in principle in order to carry it forward. Otherwise, it is like grass without roots. If it doesn't grow, it won't be education. " How to understand "inherent culture" and "carrying forward the past"? Needless to say, you can't do without reading a lot of classical Chinese. Reading classical Chinese is a means of inheriting cultural heritage. Only by reading more books can we gradually understand the inherent charm of classical Chinese and the profoundness and long history of China's traditional culture, thus truly inspiring national pride and the sense of responsibility to pass on the culture to the end. Didn't the young writers who wrote the excellent composition "The Death of a Red Rabbit" in the college entrance examination benefit from the story of the Romance of the Three Kingdoms? Didn't it benefit from the nourishment of the excellent traditional culture of the Chinese nation?
Learn from the conduct of the ancients and improve their moral quality. Sages in ancient Chinese are of great benefit to improving students' comprehensive Chinese literacy and perfecting their personality. From Confucius, who is "a threesome, there must be a teacher", to Han Yu, who is "diligent in his career and barren in frolicking"; From Li Shangyin's Spring Silkworm to Death to Su Shi in Ao Shuang; From Meng Jiao, who "broke the mirror without changing the light", to Li Qingzhao, who "lived as an outstanding figure"; From Zhuge Liang, who devoted himself to death, to Wen Tianxiang, who left his heart in history, his words and deeds are shining with eternal glory, which often makes people feel excited and awe-inspiring, admire the lofty righteousness of the ancients, think about their feelings, purify their hearts in a subtle way, and improve their literacy in a silent way. "Chinese New Curriculum Standard" points out: "The rich humanistic connotation of Chinese curriculum has a profound influence on students' spiritual field, and students' reactions to Chinese materials are often diverse. Therefore, we should pay attention to the influence of Chinese and the value orientation of teaching content. " Teachers are required to "pay attention to improving students' moral cultivation and aesthetic taste, so that they can gradually form a good personality and a sound personality". Therefore, the improvement of middle school students' moral quality can not be separated from reading a lot of excellent articles, but also from reading classical Chinese, which plays an indispensable and irreplaceable role in shaping students' personality and improving their aesthetic taste.
2. Whether middle school students should learn ancient Chinese;
People often say that we are "modern people" and we should learn modern Chinese. Modern Chinese education should focus on "practicality". Classical Chinese is no longer used, at least it was written hundreds of years ago. It is a backward and even obsolete language. Why should modern people study again? If they study again, they may be detained, imprisoned or even poisoned, which is not conducive to application.
There is a simple cognitive logic hidden in it: Vernacular is equal to "modernity", "progress", "democracy" and "freedom", while Classical is equal to "non-modernity", "backwardness", "stale", "closure" and "imprisonment". It contains a simple practical logic: what is used in modern life can be directly learned, and what is not used in modern life can be directly discarded.
In fact, the simple cognitive logic of classical Chinese and vernacular Chinese existed as early as the first half of the 20th century. Let's listen carefully to what Mr. Lin Yutang, who is based on Chinese and western cultures, said:
"Gu Xuecheng can't be disease-free, and modern people can't just read ancient books. It goes without saying, but when they see ancient books, they regard them as drugs. The sun can't blow the gale, which is a bit suspicious. Modern people are familiar with ancient and modern times, so they don't read any translated works, foreign books, foreign words, foreign words and foreign pollution. " Historical Records and Hanshu are never vivid, and The Book of Songs and Zuo Zhuan are ignorant. Isn't it also the poison of China and foreign countries? "
In China's classical poems, there are dross and essence, just as there is language rubbish and language pearls and jade in vernacular Chinese. For primary and secondary school textbooks, we should accept both ancient and modern, and we should not be paranoid, or biased towards the ancient, or biased towards the present, or biased towards the present. The key is to choose and choose appropriate teaching materials. The purpose of "the past is far-reaching, and the present is good and solid". Both must be used at the same time to get interesting words. ""Mandarin must be elegant and healthy, and there must be two sources: vernacular and classical Chinese. "Mr. Lin Yutang also said that whether classical Chinese and vernacular Chinese are modern or conservative depends not on" authenticity "but on whether the writing is modern. If writing is today's language, even if it is interspersed with "people who are coming soon", it doesn't matter, and it can't hurt elegance; If the text is a statement, even if it is interspersed with "Ma Ba", it is still nonsense. The reason is real and floating. Therefore, Lin Yutang said, I would rather write "vernacular classical Chinese" (simple and simple classical Chinese that is easy to understand, elegant and popular) than "vernacular classical Chinese" (seemingly colloquial, but actually tedious and confusing).
Let's think it over. Even today, Sima Qian's Historical Records is still profound. Even today, Li Bai's poems are majestic and proud, and even today, they are superb. The quality of The Book of Songs, the charm of Tang poetry and the beauty of Song lyrics have all become swan songs in the history of culture and literature. Can we say these are "non-modern", "conservative" and "closed"?
China's classical poems and essays have a greater influence on students' spirit and sense of language. Poems written by ancient sages such as Qu Yuan, Sima Qian, Li Bai and Su Shi in classical Chinese are brilliant "spiritual lighthouses", which have been shining for thousands of years and bathed in ancient and modern times. Their souls have a long spiritual journey in classical Chinese. Today, we let students "follow the trail" through "classical Chinese", which is a spiritual experience for students again and again. Constant "walking" and "experience" are the spiritual accumulation, spiritual memory and spiritual inheritance of the nation! It is also the formation of language sense. Li, a writer, said in the 1940s: "People who have read a little poetry, such as orioles, swallows, pigeons, cuckoos and other birds, naturally feel completely different from those who have never read poetry. We see everything through the poet's eyes and listen to everything through the poet's ears, as if adding a feeling; Those who have never read poetry seem to be blind and deaf, and their life experience is naturally much worse. " Poetry here refers to classical poetry, so quantitative accumulation is the formation of language sense and spiritual temperament. I'm afraid all these are irreplaceable by simply learning vernacular poems.
In addition, if we must follow the principle of "what to learn and what to use"; If we don't need anything, we will throw it away. So, should we put a lot of product manuals, market research reports, SMS, QQ chat, etc. In modern Chinese textbooks? Because they are used the most today!
Lu Xun, Hu Shi and Guo Moruo opposed classical Chinese, mostly from the perspective of political, ideological and social changes. However, their own classical Chinese literacy has been extremely strong as early as adolescence, so no matter how strongly they oppose classical Chinese as adults, they can't resist the beneficial nourishment of classical Chinese. Your knowledge of classical Chinese or cultural foundation will not become thinner. However, if the "Chinese teachers" born in the 1950s, 1960s and 1970s have a shallow foundation in classical Chinese, but they also follow the masters and echo "abandoning classical Chinese" in unison, then we may "abandon the beacon of Chinese studies", "the cultural foundation of several generations" and "the foundation of vernacular Chinese" at the same time. Let generations of "vernacular" become "duckweed"! This is not an alarmist. Because the words of modern mainland literati are becoming vulgar, and the language of teenagers is also becoming "junk" under the impact of "network language" and "business language"
3. The difference between classical Chinese and argumentative writing Hello, Chinese has been divided into classical Chinese and vernacular Chinese since ancient times. Classical Chinese is relative to vernacular Chinese. The first word "Wen" means to write an article. "Speech" means writing, expressing and recording. Classical Chinese refers to written language, which is relative to literature. Classical Chinese refers to articles written in written language, while vernacular Chinese refers to articles written in common spoken language. In ancient China, it was different to express the same thing in spoken and written language. For example, if you want to ask someone if they have eaten, what they say in oral language is eaten. And using books and language to express it is "rice?" "Fanfan" is classical Chinese. In ancient China, all articles were written in written language. Therefore, now we generally refer to ancient Chinese as "classical Chinese". Classical Chinese is a treasure of China culture, and the ancients left us a lot of classical Chinese. In China, the study of classical Chinese occupies a large proportion in the Chinese curriculum in middle schools. What is classical Chinese? 1. Classical Chinese is wonderful. Of course, there is no doubt that it is the main part of China's traditional culture. It can be seen that the history of modern civilization in China is still very short, so it is necessary to deconstruct or interpret the traditional culture, because the inheritance of traditional wisdom is based on the correct interpretation of classical Chinese. 2. Classical Chinese is knowledge. This is correct, because classical Chinese is no longer a language, but a pure text. By the way, it is precisely because Oracle Bone Inscriptions is a relatively primitive writing that classical Chinese is the basis for further studying Oracle Bone Inscriptions and other traditional advanced writing (learning). 3. Classical Chinese is also a skill. The expression, description, combination, transformation, metaphor, comparison and deduction of Chinese fully bear the style of Chinese civilization in ideological expression. Mastering the physical structure of classical Chinese will give you a deep understanding of modern Chinese. The construction of new Chinese will be based on "Fa". 4. "Classical Chinese" is the antonym of "vernacular Chinese". The structure of this word is as follows: classical Chinese-Chinese. The first word "Wen" is a language. "Classical Chinese" refers to written language. Explain two meanings: first, second, the language was written later. "Written" language also has two meanings: one is a culture that can have language without words, for example, most ethnic minorities only have language without words; Secondly, the function of language quits life and becomes history in the form of words. The literal meaning of "classical Chinese" should be: a style of written language. The latter's "text" refers to style. So besides archaeological research, does classical Chinese still have a "future"? In other words, what life application value will it have? I think so, too. When the traditional life style fades out of modern society, people just ignore the social life in some marginal fields, which leads to the suspicion or neglect of classical Chinese in modern application. For example, in religious buildings, some inscriptions can still be written in classical Chinese or calligraphy. Carve with tools. The application of seal script is also mostly the same. The word "classical Chinese" can also include the relationship between language and writing in cultural history. In a certain form, once a language, including dialects, is "literate", its language charm will be reduced and the function of words will be doubled. Because language is usually spread orally and closely related to life, language has not yet entered the cultural state. I think this can be "felt" through the differences in the expression of written and spoken languages in the present tense, and there is not much difference in the structural rules between them. It can also be speculated that the ancient people's speech is just more casual and albino than classical Chinese, and "three words and two beats" can also be used as a reference. As for reading classical Chinese now, of course, it does not mean repeating what the ancients said, but reciting or silently reading a style. Reading classical Chinese, I feel very clear, just like reading the works of western philosophers occasionally, which is very solemn. The value of the revival of contemporary classical Chinese is one of the hot spots of the cultural revival movement in contemporary China. Its appearance has the same profound historical background as China's cultural revival movement, and it is an organic part of the Chinese national rejuvenation movement. On the surface, the revival of classical Chinese is a denial of the vernacular advocated by Hu Shi and others. In essence, it is an extension of the vernacular movement. The popularity of vernacular Chinese has greatly increased the audience of generalized culture, but made the direct audience of China traditional culture less and less-thus threatening the inheritance of China culture as never before. It is precisely because of the need to inherit China culture completely and accurately. The revival of classical Chinese has become a historical necessity. The revival of classical Chinese can not deny the existence and value of vernacular Chinese. The revival of classical Chinese in Chinese mainland began in 1980s. The concept of revival of classical Chinese was clearly put forward by Liu Zhou, a young scholar, in The First Step of Cultural Revival in China (Suggestions). In 2007, Guangming Daily published "Hundred Cities Fu". It shows the state's attitude towards the revival of classical Chinese. The suggestion of reviving classical Chinese was put forward by a young scholar. It shows that the development potential of classical Chinese revival is very strong. Modern Chinese 1, expression: narration, description, lyricism, discussion and explanation. 2. Rhetoric: metaphor, personification, parallelism, exaggeration, repetition, metonymy, rhetorical question, quotation and comparison. 3. Common writing methods and expressions: association, imagination, symbol, etc. 4. The role of sentences in the text structure: always play the full text, arouse the following, pave the way, pave the way, connect the preceding with the following (transition), take care of the full text, echo from beginning to end, summarize the full text, point out the theme and promote the development of the plot. 5. The role of sentences in expression and expression: to render the atmosphere and contrast the characters (or their feelings).
4. The benefits of reading classical Chinese composition 600 Since primary school, we have been exposed to classical Chinese, but at that time we just shook our heads like "young monks chanting scriptures". Only after I really started learning classical Chinese did I feel deeply.
In classical Chinese, I saw the back of Tao Yuanming's "picking chrysanthemums under the hedge and seeing Nanshan leisurely". I didn't go along with the secular, but kept my inner peace and yearned for a paradise where I enjoyed myself, which made people's hearts fade again and again and indulged in "the fairy capital of desire". Ancient literati also left many beautiful scenery in their pen and ink. Li Daoyuan's "Three Gorges" and Tao Hongjing's "Thank China Book" truly reproduce those thrilling beauty for us. Clear water and clear pools, towering mountains, all seemingly beautiful beyond words, but really printed on white paper. Classical Chinese is a picture with words, and all the pictures are also displayed in words. Complement each other, so that the original dull heart is immediately set off by a sentence of "painting with words."
However, no matter how exquisite the language of classical Chinese is and how profound the artistic conception is, it still makes people feel difficult to learn.
Perhaps in order to accumulate, almost every article in the textbook has to be memorized. After all, the writing rules and usage of classical Chinese are different from those of vernacular Chinese, and sometimes it is very difficult to read, let alone recite. One more thing, although there is a saying of "essence and concentration", there are too many things to be expressed in "short and pithy" classical Chinese. After reading it several times, I still don't know whether it is lyrical, depicting scenery or belittling the times.
Whether it is beautiful or difficult, it is also interesting. Sometimes I see a word "zhi" here, which means "something", but it doesn't make sense in another place, so I immediately think of another explanation. After repeated several times, I realized several laws. Sometimes I can read a classical Chinese by myself, alas! Very interesting. The thinking of prose focuses on appreciating emotion; Try to figure out the novel from the details; The interpretation of drama focuses on contradiction analysis; The thinking of poetry focuses on artistic conception. Although the ideological connotation of classical Chinese is difficult to understand, you can find the beauty of the text with a little inspiration, and you will also sigh: the beauty of ancient Chinese and the elegance of ancient rhyme are beyond your reach. There are also many anecdotes about pastoral interests. As long as you use three or five strokes, you can vividly draw a colorful historical picture, either humorous, profound, simple or bold. In short, classical Chinese can make people gather more in the nursery of words, and sometimes even linger.
Classical Chinese, "Let me rejoice and let me worry". When I study classical Chinese, I feel much more pleasure than confusion. Five thousand years of splendid culture is embodied in these words, which are meaningful and often make people feel deeply.
5. Explanatory writing, argumentative writing, prose, narrative writing and classical Chinese reading skills should be useful. When the junior high school teacher talked about how to do reading problems in class, he gave everyone in our class a piece of information. I'll type and copy it for you slowly now.
(1) narrative
Do narrative reading questions, you can start from the following aspects:
One, benefit from the law class, benefit after class:
In the third grade, we learned a lot of beautiful narratives in textbooks. Mr. Ye Shengtao said: "The text is just an example." We should learn the general methods of narrative reading from these examples, and then apply these methods to the reading of extracurricular paragraphs.
Narrative is the most commonly used style in our life and study. Therefore, we must master the methods of reading and writing narratives. The information revealed by the examination questions of the senior high school entrance examination in recent years shows that reading more books and thinking more will be beneficial to study and examination.
For example, since 1999, the State Education Commission has advocated reading more books and reading good books. 200 1 promulgated the National Chinese Curriculum Standard, which lists the recommended books for middle school students' extracurricular reading. It can be seen that broadening your horizons and enriching your reading life are beneficial to you in many ways.
Second, the specific steps are as follows:
1. Perceive the content of the article as a whole and define the center.
2. See the relationship between the parts of the article, get a general idea of the article, clarify the structure of the article, and divide the level of the article.
3. Feel the thoughts and feelings expressed in the language of the article.
4. Understand the meaning of words and sentences in the context, and understand the meaning and function of words in a specific language environment.
5. Find out the most deeply felt sentences or paragraphs in the text, grasp the center of a paragraph, find out the key sentences and understand the deep meaning of these sentences.
6. Appreciate the beautiful and incisive sentences in the article, initially appreciate the images and descriptions in literary works, and appreciate the vivid images of the language.
7. When reading prose, we should understand the thoughts and feelings contained in the people or things written by the author, understand the characteristics of material selection and composition of the article, and understand the characteristics of prose "scattered but not concentrated".
8. When reading a novel, we should grasp the personality characteristics of the characters, analyze the description of their appearance, language, movements and psychological activities, understand the plot of the story, understand the role of environmental description, and understand the author's writing intention.