As a method of reading teaching texts, reading aloud, that is, "how to read", now has many names, such as: reading aloud, reading aloud, reciting; Example reading, imitation reading and follow-up reading; Read together, read alone, read freely, and read by roles; Analytical reading, taste reading, critical reading and learning; Wait a minute. These types of reading have different perspectives, from voice expression, organizational form to reading level. The reading method chosen in this paper is related to the purpose and object of reading. The purpose of reading is the reading purpose of the text, and the related "how to read" refers to what to read, that is, where to understand and comprehend the text and enter the text world; The object of reading method is specific text, and "how to read" refers to what kind of voice is used to express style and grasp tone. Whether the reading method is appropriate, first of all, of course, is to examine whether reading as a reading method is appropriate for a specific text. Zeng Guofan mentioned in his letter to his son that "readers, such as four books, poems, books, I Ching, Zuo Zhuan, Zhao Ming's selected works, poems, kings of Korea and Europe, can't get their grandeur without reciting them aloud, and can't discover their far-reaching charm without reciting them quietly". Obviously, in Zeng Guofan's eyes, reading aloud is the most appropriate way to read the four books and other classics, Selected Works of Zhaoming, poems about Wang, and works about Wang, so as to achieve the reading purpose of "grasping its majestic outline" and "exploring its profound charm". On the premise that the text is suitable for reading, this paper discusses the specific content of reading methods and their consistency with reading purposes and reading objects. Mr. Wang Rongsheng believes that "the question of how to read is the question of where to read in a specific text and what to read in these places". As a reading method, the first clear question is: what to read? Where do I enter the text? Where to read what? In fact, if reading is adopted as a method to interpret the text, then the purpose of reading has been restricted by the general purpose that the method can achieve, that is, "what to read" has implied what to read. Theoretically speaking, the process of shaping phonetic form by perception has two purposes: one is to understand the meaning and emotion of the text; The second is to form the ability to perceive phonetic forms. The former is the so-called grasp of the text content, from sound to meaning and emotion; The latter is the so-called ability to appreciate and express the pronunciation of the text, paying attention to the pronunciation itself and cultivating the sensitivity to the pronunciation. In our opinion, since reading aloud is an appropriate method for text reading at present, there is no reason to abandon the above end point for the purpose of reading. The question is, how meaningful is the implicit purpose of the method in a specific text reading purpose? This problem can be discussed from different angles. The perspective here is: Does the curriculum goal belong to language education or literature education? Recently, Mr. Wang Shangwen put forward the compound proposition of Chinese curriculum. He thinks that Chinese curriculum can be divided into two parts: language education and literature education. The purpose of Chinese education is to cultivate students' ability to correctly understand and use the language of the motherland, mainly to cultivate language literacy; Although literature education also starts from the understanding and application of language, its end point is to feel, perceive and comprehend people's life experience, and finally know and understand themselves, and cultivate mainly literary literacy. From this point of view, the reading purpose of the text belonging to literature education can point to the content alone. The reading purpose of texts belonging to Chinese education generally includes two aspects, namely, the content of the text and the expressive force of the language. Obviously, the expressive force of language here also includes the expressive force of the sound form of the text. Therefore, reading aloud in Chinese education is a bridge to the emotional world of text meaning, a means to chew words, and sometimes a way to appreciate the charm of phonetic form itself. In this way, from the perspective of Chinese education, the perception of what to read-tongue sound, tooth sound, entering rhyme and overlapping words-should be reflected in understanding and experiencing the depressed and sad emotions and the expressive force of phonological rhythm. This kind of reading has existed for a long time in teaching practice: reading phonetic rhetoric in poems and rhymes; From the comparison of different intonations, we can understand the fluency of sentence patterns, such as "official to general, jinyi returns home" and "official to general, jinyi returns home", and so on. Obviously, this kind of reading does not necessarily belong to the text of literature education, because literature education can forget what it said. Students can read freely, which is probably a muddle. Make clear the attribution of text reading goal, determine the purpose of text reading, study the characteristics of text speech sound form, understand "where to read" and "what to read", and design the path to guide students to "read" from it. -In these respects, teachers should take positive actions. Second, "how to read" based on voice expression style is a grasp of the tone and rhythm of the text, and its appropriateness is related to the stylistic characteristics of the specific text. Zeng Guofan's Four Books and other classics, Zhao Ming's Selected Works, Du Li's Su Han's Poems and Han Ou's Poems of Zeng Wang, must be read aloud and sung quietly, and the relationship between them should be expressed. In practice, we should discuss the specific issues such as which poem (genre) is suitable for "reading aloud" and which article (genre) is suitable for "singing softly". In this regard, predecessors have made a more in-depth discussion, which is very enlightening for today's discussion. Mr. Huang established four types of "recitation tones" in his "Recitation Law": First, reading aloud. Reciting means reading, and those with syllables should be used to read prose. Such as the four books, philosophers, Zuo Zhuan, the four histories and the discussion, argument, preface, postscript, biography, drama, letters and so on in the collection of experts. Second, recite and read. Yin, groan, oh, yeah. Suitable for reading quatrains, rhymes, songs and other short lyric rhymes such as songs and songs. Third, recite and read. Chanting, singing, and forever. Suitable for reading long rhymes, such as parallel prose and ancient poems. Fourth, talk about reading. The speaker, say yes, Tan also; Sun Shi is the "Sun Shi" who speaks and talks with Tan. Suitable for literary style. (Zhu Ziqing Zhu Ziqing's On Chinese Education, Zhengzhou Henan Education Press, 1985) In his article on reading originally published in 1942, Mr. Zhu Ziqing classified Mr. Huang's four categories into three categories: reciting, reciting and reading, speaking and reading (divided into reading and reading). He also said that "Chinese should be recited". He believes that "speaking and reading" can be divided into "reading" and "speaking". Reading should be slow, clear, meaningful and clear. Although there are ups and downs, it is not significant, and the overall effect is solemn and calm. Said, as Mr Zhao Yuanren said, "according to the most natural and expressive tone cadence" to express. He thinks that Huang's "speaking and reading" can only be regarded as his "speaking" category. Reading is suitable for most vernacular poems and "all applications of classical Chinese." For example, reading letters, judgments, conventions and codes are typical "reading", and the specific texts cited are the will of the prime minister. Say, a few vernacular poems suitable for oral tone. Most of them are concrete texts, such as One Day by Lao She, For the Dead Wife by Zhu Ziqing, An Unfinished Letter by Kang, Poems Without rhyme by Xu Zhimo, plays by Ding Xilin and Cao Yu, and the first chapters of Marriage March by Chen. (Zhu Ziqing's On Chinese Education, Zhengzhou Henan Education Publishing House, 1985) In his article about reading in 1947, he used the word "reading", which is a continuation of the method of "speaking and reading" in terms of the style of voice expression. He believes that reading is a kind of "speaking tone" that is "somewhat more artificial than speaking". Reading should first be articulate, articulate and articulate, which basically meets the requirements of "reading". His choice of reading methods is no longer based solely on whether the language is natural, but on the purpose of reading. He believes that "in the sense of understanding and appreciation, singing is not as good as reading", "so it is classical Chinese, and reading should also be the tone of speech". (Zhu Ziqing's On Chinese Education, Zhengzhou Henan Education Press, 1985) Mr. Zhu Ziqing's research gives us not only conclusions, but also strategies and methods. We need to explore the problem like him and study the "how to read" of a specific text from the perspective of text language. In some training systems about reading skills, some chapters are trained according to the narrow sense of style (only referring to genre), that is to say, a certain skill corresponds to a certain genre, but the actual training still needs to be carried out in the face of specific texts. Text is unique, so this skill training can not meet the reading needs of a specific text, because the same genre does not mean the consistency of style and style. For example, some modern poems are suitable for reading, some are suitable for "reading" and some are suitable for "speaking" as Zhu Ziqing said. Determining "how to read" according to the style of voice expression from the genre misses the key. Style includes genre, style and style. For a specific text, the most concerned about "how to read" is the style. Style is the style of language. Generally speaking, the style of a text is a complex, one is the standard style required by the genre, such as elegant style with chapters and tables, while beautiful style is a must for poetry; The other is the free style chosen by the author according to his unique aesthetic ideal and interest, which is entirely the author's creation and a more important aspect of the text style, and it gives the text a unique tone and language potential. The author's personal character of free style has developed steadily to the extreme, and it is organically integrated with other factors of the work to form a style. We can say that the main thing is that the author's freely created style determines the "how to read" of a specific text. In fact, genre, as a category of style, is also expressed from the style. However, in today's rich stylistic development and relatively backward theory, if How to Read is based on the style expressed by genre, it is very doubtful whether even the basic intonation can be grasped. For example, at present, it is popular in China to divide literary genres into four categories: poetry, novel, drama and prose, and prose is the dominant genre in Chinese teaching (Wang Rongsheng). In this context, "how to read" is often impossible to be based on genre. For example, Modern Chinese Reader has a unit called "Style: Light makeup is always appropriate", most of which are essays, which are divided into six parts: simple, colorful, energetic, soft, precise and dense. In fact, they are classified from the perspective of free style. How to read these essays? (The author is a doctoral student in the Department of Curriculum and Teaching of East China Normal University; 200062)
Seeking adoption is a satisfactory answer.