Ancient poetry has a profound cultural background. Learning ancient poetry is also learning the history of China and the culture of China. Through classical poetry, we can learn about our ancestors' joys and sorrows, love and hate, and their attitude towards the world. The beauty of ancient poetry lies in culture, and the beauty lies in the inside story.
Therefore, the writing in the teaching of ancient poetry is different from the writing in the teaching of prose, novels and fairy tales, and its writing is more for reading, focusing on image and artistic conception. Students can easily enter the realm of ancient poetry and see the people in ancient poetry through imagination, continuation and rewriting. Only in this way can students have the feeling of singing * * * with poetry. Then, according to the different contents and cultural background of ancient poetry, various forms of "writing" are designed in the teaching of ancient poetry.
First, the image restoration class "The Son of the Fisherman"
The picture depicted in "Fishing Songs" is fresh and bright: green mountains, green waters, peach blossoms and beautiful fish. The artistic conception created is far and quiet. Poets amuse themselves. Such a scene, such a realm, such a feeling, if there is no image restoration, it is difficult for students to be in it, and the beauty and significance of poetry can't be understood naturally.
Therefore, in teaching, we should try our best to guide students to restore the images in poetry into pictures, scenes and various concrete and vivid details, just like showing a movie in their minds.
So how to recover? Take the lesson "Yu Gezi" as an example. In teaching, I designed the following links:
1. Draw the middle scene of the poem, read the poem and think about the picture.
This is the process of input. Through various forms of repeated reading, the rhythm and rhythm of poetry gyrate in students' minds like music, and the scenes and pictures in poetry gradually become clear.
2. Use good words to describe the picture
In this process, students should process the pictures in their brains and translate them into language.
Step 3 write pictures according to the prompts
The background music sounded slowly and weakly. ...
I said, "my child, please close your eyes and feel the feelings with your heart." Now you are in front of mount cisse. Please write the picture in front of you ... "
In the slow music, the children quietly wrote:
This is a bright picture: I seem to see a group of egrets flying vaguely from the green hills. It's stormy, with pink peach petals patting the water and countless dimples swirling in the water. ...
This is a picture of dynamic and static: I seem to see oblique rain falling on bamboo hats and hemp fibers, and the old man is sitting quietly by the river. The egrets in front of the mountain sometimes stop, sometimes chase, and make a clear cry. ...
……
Compared with the above "say", "write" is a more advanced output. At this moment, the scenery and feelings in the poem have been linked with the students' lives, which is a kind of spiritual perfection and emotional shock.
Second, make up the imagination class "Breaking up with Xin Jian at Furong Inn"
Ancient poems are short and pithy, with rich meanings, but they are inexhaustible. If we just talk about poetry, it's boring. In the process of learning ancient poetry, we should guide students to fill in the blanks with imagination and association, approach the poet, approach the era of poet's life, and feel the implied and inspired meanings and emotions of language and words.
In the teaching process of breaking up with Xinjian in Furong Inn,
I created two blank imaginations.
First place:
Grasp the poetic eyes of "cold" and "loneliness" and imagine talking: it is raining cold outside the window, and two good friends are sitting opposite the Furong Building. What would they say? What should we do?
Health 1: Brother Shao Bo, you and I have traveled thousands of miles this time. I don't know when we will meet again. Take care in Jiangning ...
Health 2: Farewell is a long way. Drink this cup. ...
Sang San: Brother Xin gradually, you will get up and go north to Luoyang tomorrow. It's a long way. After drinking this cup, you should go to bed early. ...
……
The calm and cool river is filled with chill, weaving an endless net of sadness. Friends say goodbye and feel sad, even if they drink, they can't enjoy themselves. ...
After such imagination, the students gradually came in, as if they were Wang Changling and Xin Xian. Loneliness and reluctance hang over every student's mind like a sad cloud. ...
Second place:
Imagine talking: it's already dawn, and the new boat is about to leave. When he returns to Luoyang, if you are a relative of Luoyang, how will you ask about the new Wang Changling?
With the above emotional foreshadowing, we have an understanding of Wang Changling's life background. The students naturally entered the role, and they couldn't help asking:
Did Wang Changling have a good time in Jiangning?
Did the setbacks in his official career make him depressed?
Has he been demoted repeatedly? Is he really wrong?
……
The sentence "Luoyang's relatives and friends are like asking each other" fills in the blanks through imagination and becomes a vivid picture, and the scene is tangible. ...
Students indulge in it, and can better understand Wang Changling's entrustment of "a piece of ice in the jade pot" and his enduring purity and integrity. ...
Third, create and rewrite the lesson "Xugong Store in New City"
Poetry is like a song, poetry is like a picture, and poetry is a story. Teachers should lead students to listen attentively and appreciate slowly, so that students can travel through time and space, communicate face to face with poets, experience their special feelings and arouse the impulse of inspiration and expression. Teachers can seize the opportunity to rewrite ancient poems for students. This is a good way to read and understand poetry.
The rewriting of ancient poems is not casually changed. It is necessary to guide students to cut off, associate and restore themselves, integrate their life experiences with the imagery and artistic conception of poetry, give full play to their creativity and expand the plot reasonably. Make the content of ancient poetry more full and specific.
For example, the ancient poem "New Town Xugong Store" is simple and natural, vivid and close to children's lives. Very suitable for rewriting into modern Chinese.
In particular, the last two sentences, "Children chasing Huang Die and flying into cauliflower are nowhere to be found", vividly depict the happy scene of children catching butterflies. "Running", "chasing" and "nowhere to be found" make us seem to see an urchin running fast, chasing Huang Die, panting wearily, but finding nothing, stumbling and being at a loss in front of a golden cauliflower. ...
In teaching, teachers should grasp these blank points, connect with children's life experience, imagine, restore and create …
To sum up, the combination of reading and writing in ancient poetry teaching is not arbitrary, and the above "writing exercises" are the result of teachers' careful consideration. Ancient poetry is an important carrier of national culture and national spirit. Chinese classroom should be a stage for inheriting and carrying forward national culture. As Chinese teachers, we should keep a high degree of sensitivity and vigilance, explore the best training points for reading and writing, pass on the essence of language and culture to students, cultivate their imagination and creativity, and enhance their cultural background and literacy.
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