Keywords poetry teaching imagination function
China Library Classification Number: G642 Document Identification Number: A
The Application of Imagination in Poetry Teaching
Zhu Mingshun
(Department of Education Science, Bijie College, Bijie, Guizhou 55 1700)
In poetry teaching, it is an essential basic skill for Chinese teachers to stimulate students' imagination. Imagination plays an important role not only in poetry, but also in poetry teaching. Imagination is the foundation of innovation and an extremely valuable thinking quality. In the teaching of China's ancient poetry, there is no imagination, and the symbols used in beautiful poetry texts only have abstract meanings. Only by making full use of imagination can we create vivid artistic conception.
Keywords poetry; Teaching; Imagine; function
In poetry teaching, teachers must learn to cultivate students' ability to perceive the artistic conception of poetry through imagination. Hegel once said: "All elements of poetry are creative imagination." The cultivation of imagination is very important not only for poetry creation, but also for poetry teaching. Without the intervention of imagination, even the most beautiful poems are only lines of abstract text symbols, which can't enter the vivid artistic realm at all. ①
The process of reading and appreciating literary works is essentially a process of image re-creation. This process of re-creation is actually a process of association and imagination. As "Wen Xin Diao Long" said, "The thinking of literature is also far away. Therefore, I am silent and worried, thinking about the Millennium; Sad and moving, see Wan Li; Between chanting, breathing the sound of pearls and jade; Before, the color of the storm. " It is inconceivable to talk about reading and appreciating any literary work without association and imagination. Poetry, as an integral part of literary works, is more obvious in using imagination in teaching and appreciation. Because poetry is a highly concentrated language, there is a great leap between the images that constitute the artistic conception, leaving us a space full of imagination. This shows how to teach students to read ancient poems and how to imagine. The teaching of imagination might as well start with simple ancient poems. For example, Li Bai's "Thinking about a Quiet Night": There is such bright light at the foot of my bed. Is there frost already? Looking up, I found that it was moonlight and sank back. I suddenly remembered my hometown and read this short five-character poem. What did we think of? A wanderer who has been away from home for a long time, lies in a simple Xiao Mu bed at night and can't sleep for a long time. Inadvertently, he saw the moonlight shining into the house. He looked up at the moon in the sky, how bright and round it was; After watching it for a long time, I lowered my head and thought about how hard and tired I was wandering outside. In this way, I unconsciously thought of all the benefits of being at home, from my family to my hometown, from my hometown to my childhood friends, the scenery of my hometown ... Another example is Xin Qiji's "Qing Ping Le?" Village residence: the eaves are low and small, the grass is green on the stream, and the voice of Wu is good when drunk. Whose hair is white? The big boy hoes beans and flows east, while the middle boy weaves chicken cages; My favorite is my youngest son, who is lying in the grass, peeling the lotus just picked. To learn this word, the first thing to do is to make students have such a picture in their minds: a short and small hut, a grassy stream, and an elderly couple talking tender and charming love words in dialect; By the stream, a big boy is hoeing beans; Under the house, the younger son is knitting a chicken coop; By the stream, the naughty little son is sleeping underground, peeling the lotus. These are the scenes that students should and can imagine when reading. Only in this way can we further close the relationship between ourselves and the characters in the works, and then further integrate into one, and truly achieve the purpose of artistic appreciation and enjoyment. Imagination plays an important role in people's creative activities. All creative activities are inseparable from imagination. Without reasonable or unreasonable poetic imagination, it is impossible to understand the works correctly. For example, the Tang Dynasty poet Wei wrote "Chuzhou Xixi": I feel sorry for the Youcaoxi, and there are orioles singing in the trees. The spring tide brings water late and urgently, and there is no boat to cross the wild. The phrase "crossing the river without a boat" in the poem may have various images: it may be an old man sitting idly at the stern, or it may be a boat crossing the river without a canopy, letting the wind and rain hit him; It may also be a covered boat from the bank of Hengjiang River; It may also be that a person is eager to cross the river at night, watching the lonely boat in Hengjiang in the wind and rain, and so on. Imagination plays an extremely important role in students' Chinese learning. It is not only the foundation of innovation, but also an extremely valuable thinking quality. As we know, what classical poetry presents to readers is only lines of words. If we don't expand our imagination and understand the re-creation of art, what appears in our minds may only be abstract concepts represented by words, but vivid pictures without appearances. ③ How to give full play to imagination in poetry teaching?
1 Create appropriate scenarios and induce reasonable imagination.
Our predecessors told us that teaching is regular, but teaching is not fixed. We believe that no matter any poem, in a certain teaching stage, teachers must carefully create a certain scene or artistic conception according to the content of the poem and the actual life, so as to stimulate students' imagination desire, make students actively, actively and boldly imagine, stimulate their imagination interest, achieve the best effect of imagination, and finally achieve the expected teaching purpose. As we know, not only classical poetry, but also modern poetry has the characteristics of conciseness, similarity in form and far in meaning. In a short space, it is impossible to express rich content and endless significance. Naturally, it is impossible to arrange and combine the words one by one in the general time and space order, and it is impossible to directly present all your thoughts and feelings, because it will not be a poem. Instead, we can only select typical images, organically integrate the language according to the poet's language habits and certain grammatical rules, and form poems with the author's unique personality. If the teacher doesn't understand this rule, he just asks the students to read, recite and recite blindly, and in the end, he will only be confused and confused.
2 Be good at activating words and attaching importance to image-building.
Activating words and attaching importance to image creation is one of the important means of poetry teaching. If we can't do this, poetry teaching will be out of the question. If you are not good at activating words and paying no attention to the creation of literary images, then what classical poetry presents to students is nothing but lines of lifeless text symbols. In poetry teaching, only by being good at expanding imagination and recreating poetry reasonably, what comes to mind is not the abstract concept represented by words, but vivid pictures with different colors and unique characteristics. Only in this way can students enter the poetic mood created by the author and fully understand the profound meaning of the work. For example, Wang Wei's "Autumn Night in the Deep Mountains": after the rain, the mountains are empty and stand in the autumn night. The bright moon shed clear light from the cracks and cleared the fountain on the rocks. The bamboo forest is sonorous, the washerwoman returns, and the lotus leaves are swaying to get on the canoe. Spring spring might as well give it a rest, and the autumn sun can stay on the hills for a long time. Images in poems such as empty mountains, fresh rain, autumn, bright moon, pine forests, clear springs, dancers, lotus flowers, etc. If teachers are good at guiding students' imagination in teaching and actively creating poetic scenes, then such images will appear in our minds: Shan Yu's first night, everything is new, and the fresh air and wonderful scenery in the early autumn evening are so pleasant; After the rain, the clean blue sky is like washed pine needles, the bright moonlight fills the pine forest, and the crystal clear water hits the stone, making a gurgling sound; Deep in the bamboo forest, from time to time there came a burst of playful laughter, which was that the women washing clothes were going home together; When the lotus leaf shakes, the fishing boat is about to return to the river ―― through imagination, students leave vivid pictures in their minds, and readers get a wonderful experience in imagination, not only feeling the beauty of the mountain village, but also feeling the author's unique mood of being detached from the secular, secluded in the mountains and carefree.
Pay attention to fill in the blanks and expand your imagination.
Anyone with a little aesthetic knowledge knows that for literary works, there is uncertainty and blank in any text, which has almost become a law. Poetry is particularly prominent. The blank in poetry naturally refers to the "fault zone" between images. But this "fault zone" is similar to the flying white of calligraphy works, which is broken and connected together. For example, in Cui Hao's poem "Every tree in Hanyang becomes clear in the water, and Nautilus Island is a nest of herbs", in the poem, Qingchuan-Hanyang Tree-Cao Fang-Nautilus Island has an obvious fault zone between several images, which means that there is imagination between images, so as to achieve the filling space of a picture. This is just as Wang Guowei said in "Words on Earth", "Painting is where there is pen and ink, and the beauty of painting is where there is no pen and ink." Poetry is picturesque, and its beauty lies in leaving blank where it should be, just leaving blank, in order to achieve the effect of being close to the word and far from the meaning. In teaching, such a gap should not only be seen by students, but also be good at guiding them to fill it according to their own life experience and existing Chinese knowledge. It can be said that if you know this, you will know more than half of poetry teaching.
4. Strengthen comparative reading and train to expand imagination.
In poetry teaching reading, teachers can also train students to associate poems with similar meanings or opposite meanings and similar sentences, and regard this association as a special way of imagination, so as to get the effect of analogy. Such as by Ma Zhiyuan's "Tianjingsha? Sunset in Qiu Si, heartbroken people in the end of the world "is associated with" But I look to my hometown, the twilight is boundless, and there is a sad mist on the river waves "in the Yellow Crane Tower in Cui Hao. However, if Lenovo wants to achieve this goal, it must pay attention to the effect, not just on the surface, but more importantly, it must associate with the inner essence of poetry.
5. Strengthen writing training and cultivate imagination.
The cultivation of imagination should be or should be consciously implemented in writing. For literature, the ultimate goal of reading literary works is to cultivate students' ability to create imagination and apply it to literary writing activities. In poetry teaching, it is necessary to guide students to make full use of the poems they have learned, fully and reasonably expand their imagination, and appropriately supplement, expand or rewrite the contents of poems, which is more conducive to students to better grasp the themes and clues of imagination and cultivate their independent imagination ability. For example, Li Bai's Thoughts on a Quiet Night has a lot of room for rewriting: there is such a bright beam of light at the foot of my bed (when, where and who saw it) and may there be frost already? Who doubts, why. Looking up, I found that it was moonlight (who raised his head, how could he think of raising his head), and sank back, and I suddenly thought of home (who lowered his head, why, and how the moon and hometown are linked). In just four sentences and twenty words, there is a lot of thinking space to rewrite, and this thinking space needs students to fill. Naturally, in this filling process, students' imagination has been trained to varying degrees.
To annotate ...
(1) Wang Lixia. Poetry teaching should enter the artistic conception of poetry. Literature Education, August 2009.
(2) Carve dragons with your heart. Guizhou People's Publishing House, 327.
③ Luo. Imagination is the bridge of poetry appreciation. Literature education, 20 10.8.