I was very impressed after reading Falling in Love with China people. In July and August, CCTV Lecture Room broadcasted 12 episodes of Mr. Wang Songzhou's Falling in Love with China People. He is Zhang Zhenren, and now he is a professor at Hangzhou Normal University. He is the founder of "Poetic Chinese" teaching in the domestic language field, and won the national model worker in 20xx. Previously, his Chinese class was broadcast on China Education Television's Teacher's Forum, which had a wide influence throughout the country. Seeing him in the lecture room now, his literary talent is really brilliant, and his pronunciation and mellow voice can be described as "full of English"; It can be called "Kan Kan" because it is widely quoted and freely celebrated. But I think the most commendable thing is that the questions he cut into are quite exquisite, unconventional, innovative and comprehensive. This is all related to cultural judgment, which is real kung fu, the result of his continuous concentration on reading and teaching since he taught for 3 1 year, and the fruitful result of his diligence in summing up and being good at innovation.
Wang Songzhou's love for Chinese is mostly related to poetry-poetry is his favorite. As a primary school Chinese teacher, he worships Confucius the most. Confucius said, "Why do teenagers learn poetry? Poetry can be prosperous, ornamental, grouped and resentful ... "Presumably, Wang Songzhou has a unique understanding of these words, so he teaches poetry in simple terms, and can draw inferences from other words. If "leisurely, tossing and turning". So his students like his lectures, and so does old boys like me. I think the topic of "Poetic Chinese" put forward by Wang Songzhou is to make Chinese teaching more poetic. No matter what the text is, it is necessary to teach sentimental and interesting poetic humanities, so that students can "fall in love with Chinese". This requirement is obviously of universal guiding significance, but it is actually a very high humanistic requirement for teachers, because there must be a process of accumulation.
The innovation of Wang Songzhou's Poetic Chinese is a breakthrough in the traditional Chinese teaching mode. For a long time, Chinese teaching has been dominated by "Chinese Tool Theory" and its exam-oriented education, and passively engaged in "intensive speaking and more practice" in form, often ignoring the humanity of Chinese content intentionally or unintentionally. From primary school to senior high school, we generally follow the structural teaching mode of words, sentences and paragraphs, emphasizing words over literature, rote learning and not cultivating ability; A poetic literary mind is often avoided because it is considered irrelevant to the examination. It is reasonable to say that Chinese should be the most cultured subject, and the reason why it is always criticized as pale and boring is mainly not the thinness and stubbornness of teaching materials, nor the "congenital deficiency" of teachers or the heavy craftsman spirit. The key lies in the mode system under the "question bank teaching". Therefore, Wang Songzhou's personal practice and his call for "returning poetic Chinese to the classroom" first reflected the spirit of reform.
In our Chinese teaching, we have forgotten the teaching principle of "learning with pleasure" and the teaching concept of "focusing on reading". Usually, we use overwhelming homework problems instead of text reading, so that students can have topics to accompany them, not poetry books. Wang Songzhou noticed this problem a long time ago, that is, first, how to use enough cultural content in teaching materials, and then how to let teachers use enough cultural level to fully cultivate students' aesthetics. He advocates that teachers should use vivid and unforgettable inspiration and guidance to encourage students' personality development and autonomous learning consciousness, so that students' language skills can be as rich and profound as possible in reading practice.
Wang Songzhou's Poetic Chinese has well studied and developed Yu Yi's thoughts and theories of "teaching and educating people", "integrating literature and Taoism" and "cultivating students' cultural judgment", that is, cultivating students' humanistic spirit is the basic value orientation of Chinese curriculum objectives; Chinese curriculum should emphasize teachers' humanistic concern, pay more attention to the development of students' emotional attitudes and values while paying attention to the development of students' Chinese knowledge and ability, and realize the unity of humanism and instrumentality. In a word, Wang Songzhou pays attention to cultivating education with culture, emphasizes "the life value of Chinese studies" and advocates the all-round cultivation of knowledge, emotion and meaning, with the aim of laying a good foundation for students' future career.
In Lecture Room, Wang Songzhou's last episode is Three Realms of Chinese Studies. He taught the process realm of seeking knowledge through three Song Ci poems: Yan Shu's "Looking at the horizon alone"; Liu Yong's "Waste for Iraq"; Xin Qiji's "Looking for him in the crowd, suddenly looking back, the man was in the dim light." This is very suitable for Wang Songzhou's own academic process. The successful footprint of his poetic language is obtained through a lot of reading experience, painstaking research and thousands of searches. Now he is in his prime, like a crane in a clear sky. I wish him great success-Qiu Guang is coming and the sun is red.
Reading Love Chinese 2 Recently, I read the teacher's Love Chinese, and my mind was deeply shocked: I was amazed at Mr. Wang's critical thinking ability and profound literary accomplishment. He can start all kinds of thinking from a small point, explore deeply, and finally draw a conclusion, which will arouse readers' deep thinking. He said that he would prepare a speech of a lecture room, a speech of about 10,000 words, and he would read a document of about/kloc-0.0 million words. 12 speeches need to read12 million words of information. What a heavy workload!
At noon, I saw the article "Unpredictable China people are worthless", and I felt a sense of awakening. Originally, we had too many misunderstandings about children's poems. Not all poems containing the image of "children" are childlike poems, but they are all about children's innocence and childlike interest. This understanding is too one-sided and mechanical. "When a child meets a stranger, he smiles and asks where the tourists come from", which gives the poet who returned to his hometown over eighty years old a diversified feeling and can arouse readers' thinking. The image of "child" adds a vivid stroke to the poet's life background.
Fan Chengda, a poet in the Song Dynasty, wrote "Four Seasons of Pastoral Miscellaneous Interest", which was also misunderstood by us and simply regarded as an idyll. Great changes have taken place in the development of pastoral poems in Song Dynasty, and the focus of description has shifted from praising pastoral scenery to directly describing farmers' sufferings and farming activities ... These poems are called "agricultural poems". (Chen Wenhua's History of Ancient Agricultural Civilization in China)
Therefore, when we understand poetry, we should put it in the big historical background and combine it with the poet's life and other dimensions to truly understand the true feelings expressed by the poet. We should not blindly trust teaching reference books, they are only for reference. When we are confused, we should consult and compare relevant materials carefully, and also ask others for advice, without peer communication ... As the saying goes, "it is better to believe in books than to have no books". It is through many arguments that Mr. Wang Songzhou came to the conclusion that what Fan Chengda wrote in "Four Seasons Pastoral Fun" is not the joy of harvest in busy farming season, and it is far from peace. Even children and grandchildren should learn to grow melons. What the poet wants to express is his deep sympathy for the peasants' hard production and hard life.