Keywords modern poetry reading teaching reading deconstruction text
Modern poetry teaching has always been a weak link in Chinese teaching in middle schools. Chinese teachers in middle schools often encounter teaching modern poetry, either passing it lightly or simply abandoning it, so that students can teach themselves after class. Why on earth did this happen? Because teachers always think that the language of modern poetry is simple, lyrical, straightforward, the theme is clear, students can read it clearly, and teachers have nothing to say. Even when it comes to reading the secretary's notes, the classroom is pale and powerless. Therefore, many Chinese teachers who teach high-quality classes and discuss demonstration classes are reluctant to step on this thunder pool. It is true that modern poetry is difficult to teach well, but the author believes that teachers can make it thicker in classroom teaching as long as they choose the right key points and find the right starting point.
Taking teacher Hai Hong's class as an example, this paper analyzes how to grasp "three points" in modern poetry teaching: understanding, deconstruction and emotion. The so-called "enlightenment reading" means reading poetry with feelings and feelings.
Teacher Lian seems to have made great efforts in reading teaching. There is music reading before class. Although this is not a classroom reading for teachers and students, the details carefully designed by the teacher help to create an atmosphere and stimulate interest. After introducing the author's writing background, arrange students to read together, so that students can have a perceptual understanding of the text and understand the lyric tone of the text as a whole. After the teacher guides the students to conduct self-evaluation, the teacher will model the text again, and guide the students to compare their reading effects with the teacher, so that the students can express their sincere appreciation for the teacher's model reading in the comparison, thus mobilizing the students' desire to read the text and stimulating their reading interest.
It should be said that at this point, the reading teaching of the intern teacher began to receive results. If the practice teacher can seize the teaching opportunity to further deepen and continue to guide, "Why is the teacher's reading better than yours", "What does the teacher pay attention to in reading", "Where do you need to work hard in reading", "How should you read the article", "What kind of feelings should be reflected in reading poetry", … so, from reading to reading with feelings, to understanding the content of poetry.
Mr. Ye Shengtao said that "Chinese is a subject to be read". Chinese teaching, whether it is classical Chinese or modern Chinese, whether it is novels, essays, poems and operas, should have students' understanding, teachers' model reading and leading reading. I quite agree with the view that "reading texts is much more difficult than making courseware", because reading requires not only skills, but also the inner cultivation of teachers. No wonder some people say that Chinese class is essentially a "reading class", especially poetry teaching.
Second, deconstruction. The so-called "deconstruction" is to interpret the image (artistic conception) of poetry, enter the metaphorical horizon of poetry, and create a new realm of poetry.
From the perspective of practical teaching, the focus is on the interpretation of the image of Farewell to Cambridge. Before guiding students to interpret the images in the text, Lian arranged for teachers and students to review several traditional farewell poems, including Wang Wei's "Farewell to Yuan's Twenty Ans", Li Bai's "Farewell to Wang Lun" and "Farewell to Du DuDu", so as to familiarize students with some similarities in the expression techniques and image selection of traditional farewell poems and guide them to compare the similarities and differences between traditional farewell poems and modern farewell poems.
This teaching session is well arranged. The good place is the combination of old and new knowledge, which conforms to the teaching concept of "building the teaching of new knowledge on the basis of existing experience" The good thing is to enrich the content of classroom teaching, expand the knowledge capacity of classroom teaching, and show the teachers' solid teaching foundation and Chinese teaching vision. After such a step, the teacher's classroom teaching focuses on the interpretation of the image of Farewell to Cambridge, and the teaching design is also very particular. For example, first find out the "images": clouds, willows, green grass, springs, starlight, summer insects. The second step is to find out the modifiers "Western Heaven", "Gold", "Oil", "Qing", "Yan" and "Silence" and guide the students to tell the author's emotional attitude reflected by these words respectively. The third step is to guide students to tell their own aesthetic feelings and emotional experiences about these images, such as "love in spring, cherish affection", "fresh and elegant", "infinite joy and attachment", "eternal yearning", "infatuation, intoxication", "return to reality, depression" and so on. This kind of teaching arrangement makes classroom teaching feel very hierarchical, and is also conducive to the cultivation of students' good thinking quality, which better embodies the basic law of Chinese teaching (starting with words) and the cognitive law of students' reading (from perception to aesthetic experience). There is a saying in Liu Xie's "Wen Xin Diao Long", "Accumulate words into sentences, and accumulate sentences into chapters." These instructions, the interpretation of the article should start with words, if divorced from words, emotional experience and humanistic quality can only float in the air, nowhere to land. Distinguishing words and analyzing sentences are the professional skills of Chinese teachers. How to get into the language depth of the text without distinguishing words and analyzing sentences? The new curriculum emphasizes "the unity of humanity and instrumentality". How to do this? The so-called "instrumentality" is the teaching of basic Chinese knowledge, and the embodiment of "humanism" should start with the teaching of basic Chinese knowledge, such as words, phrases and sentences, such as expression methods and skills, such as reading training and so on.
If the interpretation of images is divorced from the understanding of teachers and students, the connection between the front and back links will not be natural and smooth; However, if teachers and students can construct their own understanding of poetry by creating situations and savoring the metaphorical images of poetry, then the previous teaching links will naturally come. At the same time, in the process of interpreting poetry metaphors, we should pay attention to and guide students to "enter the metaphorical space of this kind of thing and that kind of thing with the help of poetry language, thus laying the foundation for personalized learning of Chinese" and let students "feel" from reading.
Third, enter the situation. The so-called "love" is to accurately grasp the poet's emotions and obtain the aesthetic enjoyment of poetry under the guidance of the background materials of poetry creation.
Judging from the teacher's practice in this class, she has worked hard on the "interpretation" of poetic artistic conception (image), but not hard enough on the "construction" of poetic artistic conception (image). That is to say, on the basis of a certain understanding of the images used in the artistic conception created by poetry, students are guided to combine background materials and integrate their own understanding for aesthetic re-creation; I always feel that the training teacher is guiding students.