Keywords: the teaching of ancient poetry is vivid and sincere, with far-reaching aesthetic feeling.
Ancient poetry is an important content in primary school Chinese textbooks. This is because "in all languages, poetry is the diamond of language: in all emotional expressions, poetry is the axis of emotion". Children's study of ancient poetry can not only cultivate their sentiment, but also develop their observation and imagination while learning the excellent cultural heritage of the nation. However, due to the concise, subtle and changeable language and profound and abstract poetry of ancient poetry, coupled with the distant and unfamiliar social environment written by the author, it is easy for primary school students to find the teaching process boring.
At present, when teachers teach ancient poetry, in order to let students really understand ancient poetry, they usually construct certain situations to let students enter the realm of poetry, understand poetry and experience poetry. Zankov, an educator in the former Soviet Union, once said, "Teaching methods can play a noble role once they touch students' emotional and will fields and their spiritual needs." Constructing the situation in the teaching of ancient poetry in primary schools touches the emotional field of children and forms its unique personality, that is, the sense of truth, affection, distance, reason and beauty.
First, the form is true.
Mr. Ye Shengtao wrote in "Twenty Rhymes of Chinese Teaching": "The author is kind-hearted, and the introduction begins with relatives." In other words, to arouse students' interest in learning ancient poems, we should first push the poetic scenes described in ancient poems to the students' eyes, and then let them walk in. When guiding students to understand and appreciate ancient poetry, teachers should first let students feel the images of people, scenery and things in poetry. Therefore, the situational construction in the teaching of ancient poetry in primary schools must emphasize "form and truth". "Reality" means vivid images, that is, teachers use pictures, music and vivid language related to ancient poetry to construct situations in teaching, and present historical figures separated by thousands of years and natural mountains and rivers to students. The students seem to have heard the rumble of valley waterfalls and the chirping of orioles on green willows. "Formal truthfulness" only refers to "obtaining the corresponding object of the entity in structure by means of simplified form and suggestion, thus giving students a sense of reality". If the second-year students are taught to learn the ancient poem "Spring Dawn", the teacher can't really reproduce the scene written by the poet in front of the students, but he can lead the students into the poetic realm through emotional narration. Teachers can make all students act as poets and listen to his description of activities. "It's late at night, and poets are tired of reading and writing poems." The children closed their eyes slightly and fell asleep sweetly on the table. In the dim light, they heard the sound of wind and rain outside. (Playing the sound effect on the tape recorder) The children all looked up and listened, and fell asleep again. I don't know when I heard the birds chirping and the poet woke up. At this time, the teacher suggested, "It's almost dawn, and the poet must be very happy to hear the birds chirping. What two poems did you hum? " The children were immersed in this scene, singing "I woke up easily in this spring morning, and birds were singing everywhere around me" one after another. The poetic scene is not really reproduced, but through the teacher's description and appropriate sound effects, students can quickly enter the situation constructed by the teacher in teaching.
Second, love.
One of the purposes of Chinese teaching is to promote the harmonious development of children's psychological quality, intelligence and personality, and emotion is an indispensable factor. A considerable number of ancient poems have been selected into primary school textbooks to describe the landscapes of the motherland. These poems naturally reveal the author's thoughts and feelings by vividly depicting the scene in front of him. This is because the scenery of nature triggers the poet's emotion, but the poet can't simply describe the scenery, but always depends on it, as Wang Guowei said: "All scenery words are emotional words."
Teachers should "express their feelings with emotion" when creating situations, and be good at conveying their feelings and emotional experiences about ancient poetry to students. For example, when teaching Du Mu's Mountain Walk, teachers should first be infected by this endless mountain, white clouds, faintly visible huts and huts, red maple leaves full of mountains and scattered poetic scenes, and then let students "walk" in the situation created by teachers with their own emotions. In this way, teachers and students also realized the poet's expression of staying in it, stopping to watch and lingering. The feeling of being full of vitality and loving life is vividly portrayed.
In the teaching of ancient poetry in primary schools, teachers use emotional situations to infect and stimulate students' emotions. Teachers' language and eyes are full of hopes and expectations for students, making teachers' emotions a factor to promote the development of students' psychological quality.
Third, the significance is far away.
China's ancient poetry has always adhered to the moral that "painting far away is wrong, but cutting short is less combined, and finally vulgar". In ancient poetry, it seems to be felt, but it is difficult to refer to it accurately. Although you can appreciate and taste, you can't really grasp and describe it. Liu Xie also said in "Wen Xin Diao Long": "Wen thinks it is far away." This road shows that when the poet writes poetry, he is moved by the scenery in front of him, and the blending of emotion and scenery constitutes the far-reaching artistic conception in ancient poetry. The situation constructed in teaching is that teachers use sounds and pictures to reproduce the "landscape language" and the poet's "emotional language" in poetry through teachers' own emotions, so that students can deeply understand and comprehend the poet's love for nature and the poet's own ideological ambition, and construct relevant situations, thus bringing students into the artistic conception of poet's creation and making the constructed situation far-reaching.
For example, when teaching the poem "Boating in Guazhou", after guiding students to perceive the poem initially, in order to deeply understand the artistic conception and poetry in the poem, teachers can play the music clip of "Moonlight Night on a Spring River" to inspire students to boldly imagine when, what environment and what the poet might be thinking when reciting the poem. With the deep, steady and melodious guzheng music playing, the students were brought into a bright night. While imagining, the students answered: The poet may be wondering whether the high hall in his home is healthy and when he can reunite with his family under the full moon. The students entered the profound artistic conception of the poem through the situation constructed by the teacher, inserted the wings of imagination and flew into the poet's emotional world.
Fourth, understand it.
The vivid image created by architectural situation, poetic and sincere emotion and broad artistic conception are integrated, and its lifeline is the concept of connotation.
In the teaching of ancient poetry, if the concept of situational construction is lost, it will be like a flower shelf with poor content and pale color without pillars, unable to stand up and go deep. For example, in Liu Zongyuan's Jiang Xue, the general idea is that after the failure of the "Yongzhen Innovation", the poet was repeatedly hit and relegated to Yongzhou, but he refused to give in and his ideal remained. "Reason lies in it" is based on the concept of ancient poetry, and the form of situation construction is determined by the content of ancient poetry. Therefore, in the teaching process, around the concept of ancient poetry, build a situation or a group of situations. Such a situation with rich connotations and internal relations is meaningful. Through the feelings of pictures, colors and acoustics and the teacher's language description of its formal situation, this is not only a perceptual understanding of the content of ancient poetry, but an internal understanding of the thoughts and feelings expressed by ancient poetry.
Fifth, aesthetic feeling.
Ancient poetry itself has high aesthetic value, which can be said to be the crystallization and collection of natural beauty, social beauty and artistic beauty. The teaching of ancient poetry should emphasize that teachers should guide students to correctly appreciate the beauty of language and phonology of ancient poetry, and then realize the beauty of the poet's mind.
For example, when teaching boating in Guazhou, teachers will pay special attention to the image, rhythm, momentum and emotional scrutiny and taste of ancient poetry language. In order to let students gradually experience and feel the beauty of language, teachers will tell the story that the word "green" in "Spring Breeze and Green Jiang Nanan" changes one after another (that is, going through-people-all green), and then grasp it with the constructed situation. At the same time, the beauty of artistic conception of poetry also infects students. One moonlit night, the poet's boat docked in Guazhou, and he missed his hometown. The poems of "Spring Breeze is Green in Jiang Nanan" and "When the Moon shines on me" are beautiful. The teacher sketched the poet standing at the bow of the boat, looking at the bright moon, using beautiful language and soothing music to create a touching scene of the poet Wang Anshi missing his parents in Guazhou. The students not only understood the content of the poem, but also read and recited the poem, and realized the beauty of language and artistic conception in the poem.
The situational construction in the teaching of ancient poetry in primary schools should be "as a psychological field, as a whole, acting on students' consciousness". On the one hand, it captures the motivation that children are easily moved by emotions, highlights the factors of "formal beauty" and "emotion" in the teaching of ancient poetry, and emphasizes the unity of form and emotion; On the other hand, emotion and reason are inseparable. In order to make students have feelings, they must have feelings, embody aesthetic education in the whole process of ancient poetry teaching, and reach the highest state of unity of scenery, emotion and reason.
refer to
Hu Xiaohua. Poetic exile and the pallor of China people. Chinese teacher in middle school, 1999 (2).
[2] Li Jilin, Tian Benner, co-author. Situational Chinese Education in Primary Schools in Li Jilin. Shandong Publishing House, 2000: 50.
[3] Cai Naizhong, Wu Yuhai, Luo co-author. Poetry analysis. Jiangsu People's Publishing House, 1983: 286.
[4] Li Jilin. Experiment and research on situational teaching. Sichuan Education Press, 1990: 59.