Classical Chinese in senior high school textbooks is a combination of classical Chinese, articles, literature and culture. The contents that can be taught and learned are very rich, which makes it more difficult for teachers to choose teaching contents. In addition, in the actual teaching, due to the limitation of class hours and the influence of teachers' teaching ideas and understanding level, the determination of the current teaching content of ancient Chinese is often unsatisfactory, and there are mainly three problems.
1. Pay more attention to language accumulation than cultural edification.
The following is the teaching design of the textbook "The Story of Literature and Painting" (Su Shi) for Appreciation of Ancient Poetry in senior high school. The teaching content determined in the design includes three parts. First, clarify the meaning of the text sentence by sentence with notes; Second, students sort out the classical Chinese knowledge of this article. Including classical Chinese, ancient and modern different meanings, flexible use of parts of speech, polysemy and special sentence patterns in classical Chinese (judgment sentence, ellipsis sentence, inversion sentence, attributive postposition, adverbial postposition and fixed sentence pattern); The third is to sort out the structure of the article: the first paragraph expounds Wen and Ke's painting theory and talks about his own artistic practice. The second paragraph recalled several interesting things related to painting bamboo during their communication. The third paragraph explains the reason for writing this article.
The whole class focuses on the dredging of words and sentences, the explanation of classical Chinese sentences and the induction of classical Chinese phenomena. This is very effective for students to accumulate knowledge of classical Chinese. However, this ignores the literary and cultural connotation of the text as an article. Although the content of the article is a summary and a mere formality, it is also a form. There is no clear teaching goal, let alone appreciate the text with the characteristics of "scattered but not chaotic and coherent" When classical Chinese teaching only guides students to master the knowledge as "words" and only remembers the main idea and content of paragraphs, its "literary" goal of cultivating students' literary interest and feeling the charm of ancient culture is out of the question.
2. Pay more attention to individual articles than fixed textbooks.
From the perspective of an ancient prose, it is single and independent. From the perspective of teaching materials, this single article is arranged in a book and is an integral part of a unit. It embodies the curriculum ideas and objectives of this book and this unit, and is actually the "last chapter" in the curriculum (Wang Rongsheng's point of view). As a single and independent article, especially a classic article, there must be many elements that can be excavated, appreciated and used for reference; As a teaching material in the course, it has more characteristics and significance, and is more an example of a certain knowledge point, appreciation point and ability point. These are all things that we should refine and learn in teaching, which are relatively directional. In fact, our ancient Chinese teaching pays more attention to the individual content of the article, but ignores its classification knowledge as a teaching material. Therefore, the content of teaching is more casual or comprehensive.
This is another teaching design of Writing as Picturesque (Su Shi), and the teaching focus is determined as: 1. Familiar with the text, dredge the meaning of the text. 2. Analyze the main things described in the article, analyze the character of Wen and Ke, and understand the deep affection expressed by the author. 3. Analyze the combination of narrative and lyric, appreciate the use of allusions, appreciate the freedom and flexibility of expression and the concise and vivid language.
From the teaching point of view, this design not only pays attention to words, but also pays attention to texts; It not only captures the thoughts and feelings of the article, but also captures the artistic characteristics of the article. But everything is the focus and there is no focus; Everything is involved, and nothing can be said. As for the course function of the article as a teaching material, it cannot be reflected in this design. The teaching theme of the unit "Wen Yu Yan Gu Zhu Ji" is "scattered but not chaotic, pulse but connected". However, this article is based on the pen, written at will, which has hidden meaning and runs through the whole process. Writing characteristics are very suitable for the teaching theme of this unit. Therefore, on the basis of reading this article for the first time and clearing the writing obstacles, it should be a good teaching content to use this article as a teaching material to guide students to sort out their writing ideas and explore the emotional logic hidden in free and easy writing, so that students can realize the characteristics of this class and even prose, which are "scattered but not chaotic and full of vitality".
Pay more attention to what the teacher wants to teach rather than what the students learn.
This tendency is mainly manifested in two aspects. First, in the determination of teaching content, teachers pay more attention to the intention of textbook writers and explore the teaching resources contained in textbooks, while ignoring the concern for students and the analysis of students' psychological characteristics, learning characteristics and knowledge accumulation. In particular, it deviates from students' learning in grasping the key points and difficulties of teaching, expanding, extending, deepening and simplifying teaching materials resources, and there is loss or improper. For example, the first teaching design of Calligraphy and Painting, Ancient Words and Zhu Ji (Su Shi) mentioned earlier, the teacher combined notes to dredge the meaning of the text sentence by sentence, which is very simple for students who have studied classical Chinese for three years in junior high school and two years in senior high school. The second is to present the preset teaching content one by one in the classroom, so that students can either turn a blind eye to learning problems, generate new learning content and form new learning points in the process of knowledge generation, or perfunctory. More emphasis is placed on keeping the content of the professor completely consistent with what the students have learned.
Second, strengthen three kinds of consciousness and optimize effective teaching content.
Only by optimizing the teaching content can ancient Chinese teaching be efficient. To optimize the teaching content of ancient Chinese, we must strengthen curriculum consciousness, Chinese consciousness and student consciousness.
1. Enhance Chinese awareness and do a good job in writing, articles, literature and culture.
"Chinese is the most important communication tool and an important part of human culture. The unity of instrumentality and humanism is the basic feature of Chinese curriculum (new curriculum standard). The two major themes of Chinese learning are language and humanities. Humanistic spirit is contained in language. Without language, humanistic spirit will not exist alone. Excellent essays from pre-Qin to Ming and Qing Dynasties are selected in the newly compiled compulsory and elective Chinese textbooks for senior high schools, covering the whole development process of China classical literature, showing the main achievements in each period and the continuous development of China's literary creation. These works either show the life style of the times, or depict mountains and rivers and plants, or express their inner feelings, or write thoughts on the world, society and life. Rich in content, profound in thought and exquisite in language, it fully embodies the heavy bearing of ancient Chinese in classical Chinese, articles, literature and culture. Ancient Chinese teaching should make full use of the text as an example, based on these four aspects, abandon the practice of "seeing what you say but not saying it" or "abandoning what you say because of it", teach students to understand the meaning of the text from the perspective of "text", understand the grammar of classical Chinese, accumulate rich languages, and look for and tap the literary and cultural essence contained in ancient Chinese with keen eyes. It can highlight the author's unique way of thinking, emotional experience, aesthetic taste, value standard and personality charm, and make ancient prose a direct sensible material for students to feel the profound and personalized creative characteristics of China culture.