What does classical Chinese teach? Words are important, writing is also important, and both writing and writing are given equal importance. Words, articles, literature, and culture are integrated in all four aspects. When you get an article, the teacher is the reader. How to consider the teaching content and how to design the teaching. The end point is determined by style; the starting point is determined by academic sentiment. That's so good. Some things that some students seem to understand vaguely are the focus of our teaching. It turns out that I haven't even touched the door of Chinese teaching. I must read and study hard. Understand, become enlightened. To be an excellent Chinese teacher, you should read some books every day. Since you are not destined to be rich and powerful, the most important thing is to do a little research and live an ordinary life.
This is a book worth reading slowly, and a book that requires you to read with a pen.
1. The "integration of four aspects" of classical Chinese
What we usually call "ancient prose" refers to ancient written language works, including "classical Chinese" and ancient vernacular. Classical Chinese refers to articles written in the ancient written language of "Classical Chinese", including works from the Pre-Qin period, as well as works written by later generations of literati who imitated the written language of the Pre-Qin period.
Classical Chinese is the carrier of traditional Chinese culture. In classical Chinese, "classical Chinese", "articles", "literature" and "culture" are integrated in four aspects and complement each other.
(1) The characteristics of classical Chinese are first reflected in "classical Chinese"
Classical Chinese is an ancient Chinese written language based on pre-Qin Chinese. The differences between classical Chinese and modern Chinese are mainly reflected in vocabulary and grammar.
Compared with modern Chinese, most words either have different meanings or are used somewhat differently.
In terms of syntax, the difference is not small. "You are very beautiful" now means "very beautiful", and there must be the word "de" in it. The word "zhi" in "not as beautiful as a king" is redundant according to modern grammar. "Who am I and Xu Gongmei from the north of the city?" "Ji is not confident" and "sitting with me" are all ancient syntax.
In just one paragraph of text, we can see that the difference between it and modern Chinese is so big. The characteristics of classical Chinese and classical Chinese are first reflected in "classical Chinese". Therefore, when we study classical Chinese, the premise is to learn classical Chinese.
(2) Classical Chinese is the unity of "articles" and "literature".
The classical Chinese texts in middle school Chinese textbooks are all classics that have been passed down for a long time. They are not only practical articles that apply to the world, but also excellent prose works in Chinese literature. As far as these classical Chinese texts are concerned, "articles" and "literature" are unified.
"Article" refers to its functionality. Some had clear practical functions at the time, such as "Chen Qing Biao", "Shi Shi Biao", and "Answers to Sima's Remonstrances"; some were to convey Taoism, such as "Encouraging Learning", "Shi Shuo", "Bing Mei Guan Ji", etc.; some were Statements of aspirations, such as "Preface to the Collection of Lanting", "Preface to the Guide", "Zhi of Xiangjixuan", etc. The works written by Yan Zhi and Zai Dao include travel prose, lyrical sketches, and main themes. The essence of studying classical Chinese is to understand the aspirations and principles they expressed.
"Literature" refers to its form of expression. Poetry and prose are authentic Chinese classical literature. The literariness of classical prose works is mainly reflected in the refinement of language and the elaboration of composition. The two key points of studying classical Chinese are to study the layout of articles and understand the art of refining words and sentences, with the purpose of "improving one's appreciation taste and aesthetic taste."
The exquisite composition and the refined words and sentences in classical Chinese are often the key points and essence of expressing one's ambitions. "Unification of culture and Taoism".
(3) "Culture" is reflected on multiple levels in classical Chinese.
Classical Chinese embodies traditional Chinese culture on many levels. Let's expand on it from four aspects:
1. Classical Chinese. It itself is the embodiment of Chinese traditional culture. The language of the nation is the spirit of the nation, and the spirit of the nation is the language of the nation. The degree of identity between the two exceeds any imagination of people.
2. Classical Chinese and the traditional way of thinking embodied in classical Chinese. For example, "Encouragement to Learning" relies on metaphors for argumentation, and "Teacher's Theory" relies on analogies for argumentation, both of which reflect the national way of thinking that is more perceptual. "Language is not only a tool for thinking, it also affects and restricts thinking."
3. Classical Chinese records specific cultural contents such as regulations, astronomy, geography, and folk customs. This is an obvious culture, and it is not an important aspect for middle school students to study classical Chinese.
4. The feelings and thoughts of ancient Chinese benevolent sages conveyed in classical Chinese are the aspirations and principles expressed.
This is a direct reflection of traditional Chinese culture and an important aspect of classical Chinese learning for middle school students. For example, "learning" in "Encouraging Learning" refers to "learning" the principles of life, and is not reflected in memorizing book knowledge; the "scholar" in "Shi Shuo" seeks to "cultivate oneself, manage the family, govern the country, and bring peace to the world." "Study" has a completely different meaning from the "student" we talk about today. These are the essence of Chinese traditional culture. The feelings of old friends in classical Chinese texts, such as "The Love of Lotus", "Inscriptions on the Humble Room", and "Preface to the Orchid Pavilion Collection", may have been lost in contemporary times, so they are particularly worth remembering.
Traditional Chinese culture cannot be missing from classical Chinese teaching. Education in the true sense is actually a cultural process.
The ultimate goal of learning classical Chinese is the inheritance and reflection of culture.
The probability of using the word "yan" in classical Chinese in today's society is extremely low, but the core "culture" and "literature" parts of classical Chinese are obviously the parts that have retained their vitality and charm even after another hundred years. , these will also become the source of thinking and learning for our contemporary people.
2. Essentials of classical Chinese reading teaching
(1) Focus on the study of the composition of classical Chinese and the refinement of words and sentences.
The main task of classical Chinese reading teaching design is to find such key points in the teaching interpretation of the text, and to obtain the starting point of the outline in the teaching design.
(2) Handle words and sentences in classical Chinese according to principles
The principles for handling words and sentences in classical Chinese are as follows:
1. Let them go. Some words and sentences in classical Chinese do not require special treatment. First, if ancient and modern words are consistent, or the meanings of ancient and modern words directly correspond, and students will not have difficulty understanding them, there is no need to deal with them. Second, for rare and difficult words and sentences, the textbooks have simple annotations. Generally, students can understand them with the help of annotations.
2. Prominence. Classical Chinese reading teaching should highlight the "commonly used words" that are "similar but different" in ancient and modern times. The word "Chao" in "敭(yáng) Li Three Dynasties" is easy to misinterpret the literal meaning and think that it means "Chao" in the Han Dynasty and Tang Dynasty. In fact, the "chao" here refers to the period when an emperor is in power. The so-called "one emperor and one courtier in one dynasty". Because there are so many notes on these words, textbooks often have no insights. Even if annotations are given, they are usually based on the facts and only give brief explanations. Therefore, Chinese teachers need to pay special attention and sometimes provide students with additional vocabulary knowledge to outline the meaning development network of the word.
3. Go deeper. It is far from enough to simply know some words and sentences in classical Chinese. First, it focuses on the exquisite composition and refined words and sentences that embody the author's feelings and thoughts. This is the focus of classical Chinese reading teaching. It should be from the outside to the inside, dig deep, and guide students to fully understand. Second, students are required to mobilize words and sentences from their life experiences and concrete feelings. For example, in "Ode to the Sharp Rat" (Su Shi), "I looked at it, nothing was left; I held up the candle and pulled it, there was a dead rat in it". You need to think about the manners and manners of the bookboys sitting together. Such words and sentences are often not annotated in textbooks. Without in-depth explanation, students can easily slip by. Even if there are comments, they are often not enough. For example, in "The Book of Appreciation" (Tao Hongjing), "The morning fog is about to break, and the apes and birds are chirping wildly; the sunset is about to fade, and the sunken scales are jumping up and down." The textbook notes "rest": "dissipate", "the sunset is about to fade": the sun is about to set. . Decay: Falling, this is just a literal meaning, and the key to understanding this place is its "associative meaning". If students are not guided to fully imagine the described situation, the following statements such as "It is actually the fairyland in the world of desire" will not be understood. In the above two situations, simply reading, memorizing, explaining, and translating the words and sentences are not enough to deal with them.
4. Separation. Commonly used words and phrases in classical Chinese listed in the Chinese curriculum standards, as well as some syntax, are required for students to master in the sense of "ancient Chinese" and appear more frequently in classical Chinese reading tests. The learning of this type of words and syntax mainly relies on memory and therefore requires repeated practice. This kind of exercise actually has nothing to do with the understanding and feelings of the classical Chinese texts studied, so it should be relatively separated from reading teaching--either before class, after class, or as homework; or as homework; Blackboards, posters, etc. can be used in a planned way to strengthen memory. Interspersed in the class and mixed with classical Chinese reading teaching, the result is often that both ends are lost and both sides suffer.
(3) Pay attention to the application value of classical Chinese knowledge
Teaching classical Chinese reading certainly requires learning knowledge of classical Chinese. Appropriate introduction of some classical Chinese knowledge will help students understand the text and gain the ability to draw inferences from one example to other cases. For example: "Zhi punishes Zang or not, there should be no similarities or differences" ("Chu Shi Biao"), "Work and rest diligently day and night" ("The Peacock Flies Southeast"), the knowledge of "partial meanings and complex words" should be introduced.
Two morphemes with related or opposite meanings are combined into one word. In a specific context, only one of the morphemes actually takes on the meaning, and the other morpheme only serves as a foil for the syllable. This type of word is It's called a compound word with partial meaning.
The use of partial meaning compound words in classical Chinese generally has two forms according to the composition relationship of the words:
1. Two morphemes have opposite or opposite meanings
Example 1: There are all stone caves under the mountain, and it is unknown how shallow or deep they are ("Shi Zhongshan Ji")
- "Shallow and deep" is an antonym, only the meaning of "deep" is taken here
2. The meanings of two morphemes are similar or related
Example 1: Today a man entered the garden and stole his peaches and plums ("Mozi·Feigong")
— - "Garden" is a similar word, meaning "a place where trees and vegetables are planted" respectively. Here we only take the meaning of "garden"
"The noise is from the east to the east, and the roar is from the north to the south" ("Capture" "The Snake Man"), "Buy horses in the east market, saddles and shackles in the west market, bridles in the south market, and long whips in the north market" ("Mulan Ci"), "Don't be happy with things, don't be sad with yourself" ("Yueyang Tower") "), "The master dismounts and the passengers are on the boat" ("Pipa Xing"), the knowledge of "intertextuality" should be explained.
Intertextuality, also called intertextuality, is a rhetorical method often used in ancient poetry. The explanation for it in ancient Chinese literature is: “The reference to each other makes a document, and the combination makes it meaningful.
"Specifically, it is a form of mutual rhetoric: the upper and lower sentences or the two parts of a sentence each seem to say one thing, but in fact they echo each other, elaborate on each other, and complement each other,?[1]? It’s about one thing
Single sentence
(i.e. intertext in one sentence)
The so-called single sentence intertext means two sentences before and after in the same sentence. The meanings of the two words are intertwined, interpenetrated and complementary. For example:
(1) Yan Cong Han Shui Yue Cong Sha (Du Mu's "Bo Qinhuai")
We should understand it as: The smoke covers the cold water and the sand; the moonlight covers the sand and the cold water. If this sentence is translated as: "The smoke covers the cold water, the moonlight covers the sand", it would be completely wrong and the meaning would not make sense. < /p>
(2) The bright moon in Qin Shiguan and Han Shiguan ("Crossing the Wall" by Wang Changling)
Literally, "the bright moon in Qin Shiguan and Han Shiguan" means "the bright moon in Qin Shishi shines on Han Dynasty". "Shiguan fortress" means. But it cannot be understood as "the moon is still the moon of the Qin Dynasty, and the border passes are still the border passes of the Han Dynasty". It should be translated as: the bright moon of the Qin and Han Dynasties and the border gates of the Qin and Han Dynasties. The "Qin" and "Han" in the sentence The four words "Guan" and "Moon" are used interchangeably. It is understood as "the bright moon in the Qin and Han Dynasties shines on the Guan Fortress in the Qin and Han Dynasties", that is, "the bright moon remains the same, but the things and people have changed".
Couplet
(also called intertextual complement)
Couplet intertextuality means that the (below) sentence contains (). The words that have already appeared in the sentence (upper) contain the words that will appear in the sentence (lower), and the meanings of the sentences in the second sentence and the second sentence complement each other. For example, in the current textbook:
(1). ) Open my east pavilion door and sit on my west pavilion bed ("Mulan Ci", also known as "Mulan Poems")
This is also an intertextual sentence. The complete sentence is "Open my east pavilion door and sit down." I have a bed in the west pavilion; I take off my war robe and put on my old clothes. "This sentence describes Mulan's joy and excitement when she saw the old things after a long absence when she returned in triumph after twelve years in the army (in ancient Chinese, the number is usually an imaginary number, so it is not necessarily twelve years).
(2) When the window is bright and open, the flowers are painted yellow ("Mulan Ci" is also known as "Mulan Poetry")
When the window is bright and open, the flowers are painted yellow. Looking at the shadow in the mirror is the same condition as "looking at the mirror, looking at the clouds on the temples, and applying yellow flowers on the temples".
(3) "A general will die in a hundred battles, and a strong man will die in ten." Return in the new year. " ("Mulan Ci" is also known as "Mulan Poetry")
The literal explanation is "A general will die on the battlefield after thousands of battles, and a strong man will triumph after ten years in the army. "This cannot help but make people wonder, why are all the generals who died, and all the heroes who returned? In fact, "general" and "strong man", "die in a hundred battles" and "return in ten years" are intertwined. , explain each other, and both refer to each other in meaning. The correct translation of this sentence is: "The soldiers (general soldiers) have been in the army for ten years, and after thousands of battles, some died on the battlefield, and some triumphed."
(4) The bright moon is frightening the magpies on the branches, and the cicadas are chirping in the breeze in the middle of the night. The correct translation should be "(in the middle of the night) the bright moon rose, frightening the birds and magpies flying in the trees, and awakening the sleeping cicadas on the trees; the sounds of birds and cicadas came from the gentle night wind. "Understood in this way, the artistic conception of the poem is more rich and beautiful.
(5) The general's horns and bows cannot be controlled, and the protective iron clothes are cold and cold. Cen Shen ("Bai Xuege Sends Judge Wu Back to the Capital")< /p>
In these two sentences, "the general's horned bow" and "the protective armor" are intertextual, and should be understood as "the horned bows of the general and the protective guard (here refers to all people) are (stiff) unable to open" Open, the armor is too cold to put on. " is more reasonable.
(6) Don't be happy with things, don't be sad with yourself. Fan Zhongyan ("Yueyang Tower")
This sentence actually means "Don't be happy with things, don't be sad with yourself." "Don't be sad for things, don't be happy for yourself, don't be sad for yourself" is an intertextual rhetorical technique.
Essentials of teaching reading in classical Chinese
(1) Focus on the structure of classical Chinese texts The focus of classical Chinese reading teaching is the integration of "classical Chinese", "articles", "literature" and "culture". In the above discussion, we have reached the following conclusion:
The characteristics of classical Chinese are first reflected in "classical Chinese"
The essence of learning classical Chinese is to realize their expressiveness. With Zai Dao
Studying classical Chinese, studying the composition of the composition, and experiencing the art of refining words and sentences are two key points. The key point and essence of Tao.
The ultimate goal of learning classical Chinese is the inheritance and reflection of culture. The main aspect of culture is the feelings and thoughts of ancient Chinese sages conveyed in classical Chinese. The stated ambitions carry the Tao.
These conclusions lead us to "the study of composition, the refinement of words and sentences" and "the stated ambitions contain the Tao", as well as the relationship between the two.
I woke up this morning and sent my mother to my grandma’s house. When I got home, my son watched TV.
Eating food, nice.
Hahahahahahaha