1. Teach according to the style, so that students can understand the characteristics of the style and have a way to appreciate the beauty of the work.
For a long time, there has been a big drawback in Chinese language teaching. When teachers teach texts, no matter what style they are, they always teach according to the format, using a unified format: word unblocking, overall perception of clue structure, theme analysis, Appreciate the characteristics, and do not pay attention to adopting corresponding teaching paths according to the characteristics of styles, so that students can grasp the unique charm of different styles of works.
The current Chinese teaching materials are stylistic, and one of the most basic principles of teaching is to design and organize teaching according to the genre, which is called teaching according to the genre. Only when students first grasp the characteristics of the style can they understand the structure, themes and techniques of the text based on the elements of the style. Without stylistic analysis, it is likely to be superficial and cannot be taken seriously. For example, a novel has three elements: plot, characters, and environment. But first of all, it is fictional. It has characteristics such as sudden changes, symbolism, and transcendence. Its characters are typical characters in typical environments, originating from life and higher than life. All kinds of people are mixed together to become one. Only by mastering these can we truly understand the image of the work and understand the theme of the text. For example, in "Goral Ferry", some people say that animals are so understanding of human nature, which is actually a fiction, but the expression is a symbol. Knowing this, don't dwell on what the goral did, but study why she did it and what it means after doing it. For example, in "Fan Jin passed the exam", Butcher Hu knocked Fan Jin awake with just one mouthful. In "The Last Lesson", a French class changed little Francis drastically. This is unreal in life, but in art is real. This is a sudden change and a kind of artistic thinking. We need to let students understand this so as to avoid simply "matching" the images in life with the images in novels, feel the charm of artistic creation, and stimulate their creativity. thinking. How to teach drama? Like "Mayor Chen Yi" and "Thunderstorm", we first need to let the children understand the "three unities", and then find out the dramatic conflicts, and then analyze the images, themes, etc. on this basis, instead of teaching "Thunderstorm", They only dwell on whether Zhou Puyuan is a good or bad person, how bad he is, etc.
Why do most of our students who have studied Chinese for more than ten years like to read literary works, argumentative, explanatory, and applied works? They don’t want to read them, and they can’t write them. An important thing The reason is that our teachers lack the awareness and exploration of "teaching based on the body" and cannot fully demonstrate the characteristics and beauty of those styles to students, which naturally restricts the overall development of students' Chinese literacy.
2. Pay attention to design, so that students really like the text and have a strong feeling that the text is unique.
Chinese teachers should be "designers". Every text they teach must be carefully designed to make students feel "beautiful" and stimulate their enthusiasm for reading. Current classroom teaching gives people the impression that the teaching process is relatively sluggish, and there is no trace of the teacher carefully designing the teaching after studying the text. Some schools prepare lessons collectively, with different teachers teaching the same text, and the lesson plans are so similar that they do not have their own independent research, thinking, and design. With such teaching, it is impossible to bring students into the text, and students will not be able to develop strong feelings for the text through the teacher's exquisite ideas.
In the 1990s, a teacher taught Lu Xun's novel "Medicine" and cleverly used three punctuation marks to design the process: first write a big word "Medicine" on the blackboard, and fill in the lower right corner After a small period, he said "This is a story about medicine". The students fell into deep thought and were immersed in the memories of the story. After everyone reviewed the plot of the story again with a heavy heart, the teacher again A question mark was added after "medicine" to allow students to ask questions. Students raised questions: "Why is Hua Laoshuan so ignorant that he spent all his savings to treat his son's tuberculosis with incurable human blood steamed buns, and was full of hope?" "The blood of revolutionaries became the medicine used by the ignorant to treat his son. , is there an internal connection here? "Is the title 'Medicine' a medicine for treating diseases in a general sense?" Each question is the key to unlocking the text of the work. The students' careful thinking and heated discussions have made the text The teaching leads step by step to the depth of the work; at the end of the class, the teacher writes an exclamation point after the word "medicine". The students suddenly became enthusiastic and raised their hands one after another impassionedly: "This is the tragedy of the Revolution of 1911!" "We have to think about it!" Why did the tragedy happen? "To save the dark China, we need a real medicine!" "To save the nation, we must first save the souls of the people!" "We must give a strong medicine to the ignorant people to awaken their souls!" In this class, the teacher’s design is so natural and exquisite, and the teaching effect is so strong! Chinese teachers must never be a porter of words, but must resolutely be an architect of words. Only in this way can you truly bring students into the kingdom of words and accept the influence of beauty.
For students, the Chinese teacher is a "guide". With a sophisticated design, the winding path will lead to the entrance to the classroom. Without a design, you will wander around, lose your way, and eventually feel dizzy and even unable to get out. Moreover, from the perspective of the rhythm of classroom teaching, well-designed lessons are relaxed and dynamic, avoiding straightforward narration and making it easy to attract people. Therefore, we must resolutely put an end to undesigned Chinese classes.
3. Strengthen reading aloud, allowing students to face the text directly through multiple channels and fully appreciate the charm of language.
From ancient times to the present, one of the most basic methods of Chinese teaching is to read aloud. "A good article never gets tired of being read a hundred times." In reciting, students will naturally get the influence of "Tao" and the understanding of "learning" Sleep. In today's classroom, the voices of students reading aloud are becoming less and less. The teacher is deliberately analyzing, and the students are passively thinking, above the text, and free from the text. Except for abstract lines, the students have no flesh and blood. The more such analysis, the less the students’ perceptual knowledge will be, and the taste of their mother tongue will not be mentioned at all.
Chinese language teaching should fully consider the characteristics of the mother tongue and set up a reading channel that extends in all directions, so that students can fully read the text and feel, appreciate, understand and be inspired while reading. Teachers must be good at reading aloud: they can read aloud freely. The purpose is to familiarize students with the text and understand the general outline of the text. Students can read the text aloud according to their own feelings. After reading, they can outline the outline of the article; they can read it thoughtfully and carefully. Students seek answers from the text based on questions raised by teachers or classmates. They read carefully and think quietly at the same time. They combine reading and thinking, and gain insights from thinking and reading; they can collaborate to read intensively. Select exquisite paragraphs for exploratory reading. Some issues cannot be understood by reading. They require everyone to collaborate and gain a true understanding of the work through reading and discussion; they can be read rationally. Through the literal text, skipping a large number of perceptual words, students can read and savor the text, gaining philosophical enlightenment and insights into life. For example, when teaching prose such as "My Four Seasons" and "Walking" by Zhang Jie, students must be allowed to read thoughtfully; they can be read beautifully with music. This is a kind of appreciative reading. Students grasp the essence of the work. With the accompaniment of music, they read the work with their hearts intoxicated, appreciate the beauty of form, emotion, meaning and words of the article, and are immersed in the magnificent scenery. In the realm; it can be performed and read collectively. This kind of reading, with the participation of teachers and students, is generally arranged at the end of classroom teaching to form a climax and create a "reverberation" effect. It is quite like the "poetry recitation" in a literary and art program, and has strong cohesion and shocking power. . Teacher Yu Yingchao highly recommends this method of reading aloud.