Reflections on the Teaching of Jiangnan Spring 1 Jiangnan Spring is a seven-character quatrain written by Du Mu, a poet in the Tang Dynasty. It describes the beautiful scenery of spring and the interactive integration of situations, and guides students to read aloud repeatedly and feel the beauty of the language and artistic conception of ancient poetry.
First, create a situation to guide students to talk about the beautiful scenery of spring, recall and exchange ancient poems describing spring, draw out the poetic style and introduce the author.
For the guidance of initial reading, teachers should read the text first to help students perceive poetry as a whole. When checking students' self-reading, remind students to read new words correctly in pinyin. Instruct students to read poems according to the rhythm of ancient poems. On the basis of reading poems, guide students to draw words they don't understand, look them up in the dictionary and understand the meaning of words in the context.
After students have a general understanding of this poem, let them experience the language and artistic conception of this poem repeatedly by watching pictures and listening to music, imagine while reading, and encourage students to describe their feelings in their own words. Guide students to appreciate the beauty of language and artistic conception of words, and be able to read and recite ancient poems with emotion.
Reflections on the teaching of Jiangnan Spring 2 poetry, reading aloud and understanding the artistic conception are the key points. Therefore, one of the key points in designing this course is reading aloud, so that students can fully read aloud, guide students to understand the rhythm and charm of seven-character quatrains, and cultivate students' sense of language in reading ancient poems. The second point is to guide students to understand poetry, interpret pictures, and then understand the artistic conception of poetry, so that students and poets can produce an emotional voice through reading, listening, looking at pictures and imagining.
The difficulty of this poem lies in the poem "Four hundred and eighty halls in southern dynasties, how many towers are misty and rainy". Du Mu, who had political ambition, had an anti-Buddhist thought and was born in the late Tang Dynasty, so there were various arguments about this poem. Is it description or allegory? Literally, the first two poems are like a fast-moving focal plane sweeping across the south of the Yangtze River, while the last two poems attract people's attention to the ancient temples with heavy houses in the misty rain, showing the natural landscape and human landscape, so I position this poem as a landscape poem, but the historical background of the last two poems should also be understood by students.
Based on the grasp of the important and difficult points in the textbook, I set the teaching goal of this poem as:
1. Read and recite ancient poems with emotion, rhythm and charm.
2. Through reading aloud, listening, looking at pictures and imagining, let students know the artistic conception of poetry and the poet's praise and yearning for the beautiful spring scenery in the south of the Yangtze River.
3. Through learning, cultivate students' love for Tang poetry and Song poetry and their thoughts and feelings for China's ancient poetry.
After this class, I feel that the key and difficult points of presupposition have been completed well and the teaching objectives have been achieved. Class is a real class, not a performance class. I always think that what to teach students in a class and what students will gain from knowledge, ability and emotion after class are all important factors for teachers to consider when preparing lessons. In the teaching process, I can take students as the main body, pay attention to reading aloud, guide students to imagine the teaching characteristics of this poem, and pay attention to the cultivation of students' autonomous learning ability; At the same time, because it is a senior class teaching, I pay special attention to the connection between students' old and new knowledge, pay attention to the combing of poetry-related knowledge, and the self-made courseware can clearly reflect my teaching focus and teaching ideas: this is a relatively easy place to do.
Of course, this class also has some shortcomings. For example, there is not enough time when students are asked to talk about what they see in pictures. At first, the students spoke very simply, only a few scenic words. Although a student spoke more specifically later, in retrospect, I think students should speak more, which can not only cultivate students' oral expression ability to a greater extent, but also better understand poetic poetry. Also, I didn't make any presuppositions and preparations for this course, and I didn't ask the students to do any preview or check the information. This is actually very undesirable. Because even familiar knowledge may be forgotten, leading to some links in the classroom that students can't keep up, the scene is inactive or ice; In addition, when the students close their eyes and imagine the artistic conception, when I read aloud to the music, I was a little nervous because I saw a few students with big eyes open. I missed a poetry reading. Although the teacher didn't hear it, I still feel sorry. This should be an indispensable part of understanding the artistic conception. Also, the homework at the end of class will write down the picture presented by the poem. I wonder, would it be better to give students time to practice writing it down in class and then read it aloud?
I have attended many public classes, such as narrative, expository, argumentative, novel, fable, classical Chinese, composition class, review class for senior high school entrance examination and so on. For me, this open class is a new attempt of my poetry teaching. Even though there are many shortcomings, I am really happy for my attempt.
Reflections on the Teaching of Jiangnan Spring 3 Before teaching this lesson, I was thinking, there are so many ancient poems about spring, why did the editor put these two together? We know that many articles about scenery written by ancient people are actually used to express their feelings. So what do these two songs want to tell us? My eyes fell on these two authors, which really gave me some clues. Both Du Mu and Cheng Hao have some anti-Buddha ideas. Here is only Du Mu's "Jiangnan Spring". In Du Mu's poems, "Four hundred and eighty halls in the Southern Dynasties, amidst misty rain" is regarded by some people as an excellent satire on the country's turbulent decline caused by the respect for Buddhism in the Southern Dynasties (Song, Qi, Liang and Chen).
Fundamentally speaking, Confucianism attaches importance to real life, social organization and interpersonal relationships. Therefore, it is required to start from the individual and achieve self-cultivation, family harmony, rule the country and level the world. That is to make everyone in a proper position in the family and the country, so as to achieve the purpose of family harmony, national prosperity and world peace. This is a positive idea of joining the WTO. Buddhism, on the other hand, believes that life is painful and society is suffering, and requires people to become monks and get divorced from reality in order to achieve the purpose of Buddhism. This is a negative concept of birth. It is an irreconcilable contradiction that the former is reborn and the latter is dead.
China people have always liked spring, because spring has come, new hopes have begun, and phased goals have begun to set out. Young people, middle-aged people and old people all have such a beautiful psychology about spring, so China has a very old tradition of "loving spring". But there are many ways to "love". The two ancient poems with the theme of "Spring" selected in the second volume of the fourth grade really show two styles. Jiangnan Spring can be interpreted as the poet's creation of a kind of "responsibility" with "spring". It is obvious from this poem that Jiangnan really didn't think about danger at that time. Even if spring comes, this mentality has not entered the hearts of people, nor has it entered the hearts of officials. Perhaps this kind of thought can't be thoroughly told to the students, and perhaps it can't be told from the past to the present, but reciting this ancient poem, accumulating this poem and giving it to the students should not be just a poem, but should be returned to the students. Du Mu saw all this and recorded history in the form of poetry. We often say that reading history can make you wise. The more prosperous history is, the more hidden the crisis of ultimate collapse is. Poets are creators, and creators themselves have keen observation. In fact, this poem has written all this.
Confucius, an ancient educator, said, "If you don't learn poetry, you have nothing to say." This sentence is of great significance today, because the language of ancient poetry is concise, with strong feelings, distinct rhythm and beautiful artistic conception. Guiding students to learn some ancient poems can cultivate sentiment, enrich imagination and cultivate students' interest and sensitivity in language and writing. Although the number of ancient poems arranged in our textbooks is small, they are all masterpieces, which are good materials for our language training and aesthetic education for students.
The author of the poem "Jiangnan Spring" is Du Mu, a poet in the Tang Dynasty. The poem "Jiangnan Spring", as its name implies, describes the beautiful spring scenery in the south of the Yangtze River. At the same time, he lamented the collapse of the Southern Dynasties, revealed the sense of rise and fall, and entrusted the meaning of allegory. There are one or two sentences in the whole poem written today: thousands of miles south of the Yangtze River, green leaves and red flowers everywhere, mangoes everywhere, and wine flags everywhere, showing a picture of vitality and infinite spring. Three or four sentences: the rulers of the Southern Dynasties believed in Buddhism and built Buddhist temples widely, with the intention of sheltering the gods and keeping the mountains and rivers solid forever. However, times have changed. How many pagodas were hidden in the misty rain of that year?
In the teaching process, I emphasize the principle of taking students as the main body. The main goal of reading teaching is to cultivate students' innovative consciousness and ability, so as to maximize the quality of readers and adapt to the challenges of science and technology in the future. Therefore, in reading teaching, teachers can never replace others. Instead, students should participate in the whole process of teaching activities independently, actively and wholeheartedly, and mobilize their life accumulation (life experience, knowledge reserve, artistic accomplishment, reading experience, etc.). ) to create, so as to form a systematic, comprehensive and regular rational understanding and logical grasp of language and cultural knowledge, and internalize language and cultural knowledge and experience into their own thoughts and experiences.
While emphasizing the student-centered principle, I also:
(1) Grasp reading. The rhythm and rhythm of poetry should be felt through reading, and the emotional connotation of poetry should also be understood through reading. Reading is not only necessary for your own understanding; Reading is also to infect others and produce * * * sounds. Therefore, poetry should not only be read aloud, but also be read aloud to read out feelings and meanings. So I let reading run through the whole teaching process. In this course, I arranged four levels of reading according to the principle of step by step, and each level of reading promoted the understanding of the content and feelings of the text, deepening layer by layer, and students felt in reading and read in feeling.
② Insist on heuristics. The questions should be concise, and different counseling methods should be adopted for students of different levels. On the basis of students' active learning and communication, guide students to grasp keywords properly, understand the artistic conception and feelings of words through reading aloud, using association and imagination, and let students learn to read poems.
③ Transforming teaching knowledge into teaching methods. Cultivate students' interest and ability to explore independently, and teach them to develop the reading habit of actively understanding poetry content with reference books.
Poetry is a beautiful creation. Students studying in class is definitely not as good as studying in life, and certainly not as good as studying in spring. There are many poems in spring. After writing these two poems, guiding them to continue to search for and study as many poems as possible will help them to fully understand spring and other aspects of spring and help students grow up.
Reflections on the teaching of Jiangnan Spring 4. Jiang Nanchun, an ancient poem. I think in teaching, students can first find out the poems describing the sunny and rainy scenery in the south of the Yangtze River, read them, think about their characteristics, and think about what unique scenery the poet has captured to describe the spring in the south of the Yangtze River.
It expresses the poet's thoughts and feelings. On this basis, the classroom structure will be neat, the steps will be concise and light, students will have the passion to learn, the classroom will become colorful, students will learn something, and thus better achieve the teaching purpose. One of the difficulties in the teaching of this poem is to guide students to understand the contents of ancient poetry and appreciate the emotions of poetry. How to handle it skillfully?
I think it is necessary to introduce the background of the author Du Mu to the students: the prosperous Tang Dynasty was in decline, and the rulers at that time followed the rulers of the Southern Dynasties to build temples to protect their country forever. Students understand the background of the times and are now learning poetry. In the 480 Temple in the Southern Dynasties, the difficulties of many towers in the storm will be broken. You can play an emotional song with the poet.
Reflections on the teaching of Jiangnan Spring 5. The teaching of ancient poetry has always been a weak link in my teaching. In the past, when teaching ancient poetry, it was inappropriate to say that it was "simple and rude"-once the key words were copied, the meaning was recited and the theme was written. This issue just borrowed the east wind of school teaching and research, decided the teaching and research content of ancient poetry teaching, and also wanted to take the opportunity to learn from other teachers.
After my own class, I mainly have the following feelings:
First, the result of preparing lessons carefully is very different from the result of only completing teaching tasks.
Because the teachers in the group and the principal in charge of teaching have to attend classes, naturally they can't be as casual as usual and want to have a good class. To this end, I have done a lot of preparatory work before class. Find information, learn from other people's teaching designs, watch teaching videos, etc. Clear teaching ideas before preparing lessons. Therefore, my class has really completely broken my previous mode of teaching ancient poetry, and is no longer limited to speaking, copying and reciting, mainly focusing on "appreciation". The classroom is more active, interesting and vivid.
Second, preparing lessons carefully will make you make more progress.
I am a person with limited appreciation ability, so I prefer articles such as straightforward narratives and novels. I can only understand what poetry has always been regarded as "Chun Xue" and is not easy to teach. When I first chose this poem in a small class, I always thought that a 28-word poem was more than 30 minutes. Unexpectedly, I let go as soon as the class started and I couldn't get it back. The first time, I only got two-thirds in 30 minutes. After revising the lesson plan, I went to class for the second time, which also delayed the class. I just found out that there are so many ancient poems to tell! It can be so interesting!
Because my class is interspersed with many ancient poems I have learned in the past, it is actually my own review and re-mastery of ancient poems during the preparation for the exam.
Third, after preparing lessons carefully, classes will be more handy.
I used to be familiar with textbooks and lesson plans before class, but because the class was more formal, I was more casual. Sometimes, when it diverges, it may go far. But this lesson plan, because I have carefully prepared and memorized it, is more active in controlling the classroom, key points and teaching content, and more confident in standing on the podium!
I think this class has two highlights:
First, it is interspersed with a large number of learned ancient poems. By recalling and reviewing ancient poems, we can better grasp and understand the teaching content. For example, when we understand the word "green reflects red", we should contact the word "green reflects red" in "Peach Blossom and Human Face" to help us understand. When talking about the word "wind" in Jiuqi Feng, we also made a comparative study of many poems with the word "wind" that we have learned before.
The appreciation and comparison of Chinese characters in two pairs of poems are in place. The students couldn't speak at first, and they didn't know how to speak, so I started by saying the word "wind". Then the students talked about Scream, Misty Rain, Reflection and so on. In the appreciation of these words, they realized the beauty of poetry.
Of course, there are also many shortcomings, and the teachers have sincerely pointed them out to me.
1, the overall grasp of poetry is not enough, and the implementation of poetry is not in place.
2. The guidance of the theme idea is too blunt.
For myself, this is really a new attempt of poetry teaching since I taught for more than ten years. Even if there are shortcomings, I am sincerely happy for my attempt. Because it can break the rigid pattern, it is a pleasant thing to have a good class even though there are many defects.