First, before class, create a teaching situation
At the beginning of class, students' interest in learning is dormant, some may be immersed in the content of the last class, and some may reminisce about the ten-minute game between classes. How to make students get rid of interference and enter the best learning state requires teachers to render emotions and create situations. Mr. Ye Shengtao once said: "Reading people has a good heart, and when in Rome, do as the Romans do, it begins with relatives." Dewey, an American educator, once said, "We must have a practical experience situation as the initial stage of thinking." Both educators emphasize the creation of teaching situations. There are many teaching situations, such as physical demonstration, picture reproduction, music rendering, language description and so on. But in the final analysis, Chinese is the teaching of language, and the situation created by poetic language is the easiest to induce students' emotions and arouse students' thinking. Because "the language of poetry is a' Babel' pointing to the perfection and perfection of human nature". (Lu Shuyuan, Beyond Language)
Take Ditan and I as an example. This is a very delicate article. Students should be drawn into the text as soon as possible, enter the author's spiritual world and feel the ups and downs of emotional melody. At the beginning of the class, I asked the students to recite Pushkin's poems in chorus. "If life deceives you, don't be depressed or sad. When you are unhappy, restrain yourself for a while ... believe it, happy times will come. " Then teach Shi Tiesheng his emotional experience and his mental journey when life cheated him. Unconsciously, the students and the author are emotionally close to each other. With this warm-up of feelings and the setting of situations, they have accumulated potential for further study of the text. Teaching is the art of language, and literary works are full of the writer's thoughts and feelings, condensing the writer's hard work and life. "The husband writes an essay, and the reader is immersed in the text." If Chinese teaching can't arouse students' strong emotions, it is poverty and failure of teaching. But to "put on the article and get into the mood", there is no relationship with
The creation of a harmonious situation, without the infection of beautiful language, is difficult to touch the strings of students' emotions.
Second, classroom guidance allows students to think freely.
In Chinese teaching, the most effective way to make students form and maintain an "internal state of high emotions and intellectual excitement" (in Suhomlinski's words) is for teachers to create a speculative atmosphere and keep students in a "problem situation" all the time. German educator Dostoevsky said: "The art of teaching lies not in the ability to teach, but in being good at inspiring, awakening and inspiring." This requires that the teaching language should be meaningful, thought-provoking, thought-provoking and enlightening. Poetry, a highly concise and tense language, is the easiest to induce thinking.
For example, in "Battle of Red Cliffs", most texts introduce the formation process of Sun-Liu Alliance, aiming at explaining that Battle of Red Cliffs's victory can't be separated from the preparations before the war, and how to stir up disputes and arouse speculative consciousness when the understanding tends to be consistent and the thinking tends to be fixed. I quoted Du Mu's poem "Dongfeng is not convenient for Zhou Lang, and Tongquetai locks the second bridge in spring" and raised the question "Is Zhou Lang lucky enough to win?" "When the wind blows, it wrinkles a pool of spring water." Students' thinking is activated. Some of them are also very happy to talk about the scene of "Zhuge offering sacrifices to the east wind" on TV. Some are red-faced for "Zhuge Liang and Zhou Yu have made great contributions." Even some students think that Zhou Lang's victory is inseparable from the east wind. I would like to take this opportunity to quote Mao Zedong: "Yesterday, Qin Huang lost his literary talent; Tang Zong Song Zu, slightly less coquettish. A generation of tianjiao, Genghis Khan, only knows how to shoot an eagle with a bow. "Through this introduction, the students have dispelled their doubts and understood that these poems are mainly used to express their feelings, rather than comprehensively evaluating historical events and historical figures. For example, if you teach The Hongmen Banquet, you can quote Li Qingzhao. I still miss Xiang Yu and refuse to cross Jiangdong. " Du Mu: "The victory or defeat of a military strategist is unexpected, and Bao is the shame of every man." There are many talented children in Jiangdong. I wonder if they will make a comeback. "And Wang Anshi's" hundred battles of fatigue and sorrow for a strong man, it is difficult to return to the Central Plains after defeat. Today, although the children of Jiangdong are here, they are willing to make a comeback with you, which opens up the thinking space of students and guides them to realize that the same theme can be thought from different angles. As the saying goes, "Looking across the mountain, the distance is different."
Third, at the end of the course, the process of easing emotions.
Liu Xie said: "The source of this article, those who love it, those who speak it, and those who speak it." (Wen Xin Diao Long) Explain that the article consists of three basic elements: literature, emotion and reason. In Chinese teaching, students should correctly understand and use the language of the motherland, that is, through the perception, understanding, application and imitation of the "text", the experience, enlightenment and suggestion of the "emotion" in the text, and the insight, epiphany and breakthrough of the "rationality" in the text, the two-way transformation of "language-meaning" can be realized. It can be seen that Chinese teaching cannot ignore the development of students' emotions, the shaping of students' personality and the cultivation of students' spirit.
Literary works vividly reflect life through literary language. These languages do not interpret life naked, but infect and educate people by depicting vivid scenes, shaping vivid personalities and expressing profound thoughts. Therefore, the analysis of the text, especially some beautiful articles, can not be replaced by boring language, but vivid language, in order to coordinate with the text language. Linguistic aesthetics holds that the beauty of language does not lie in language itself; The key issue is to see whether a language is compatible with a certain context. Once the use of poetic language conforms to the context, it is like a fish entering the water, and it immediately gains fresh life. For example, Zhu Ziqing's Moonlight on the Lotus Pond and Gui Youguang's Mystery on the Ridge are both essays with aesthetic feeling and emotion. Grasping the ideas revealed in the article and combing the author's emotional process are often the difficulties that plague students' thinking. If you use blunt language to analyze and dismember, it is often that the teacher is thirsty and the students are still at a loss. American literature has also become a mess of materials, with no aesthetic feeling at all. In this regard, I quoted a sentence by Li Qingzhao, "I can't get rid of this feeling, I frown, but I feel in my heart", "Things are things that people don't do things, tears flow first", which condensed the teacher's long-winded analysis, said what students wanted to say but couldn't say, and deepened their understanding of the text.
Of course, the quotation of poetry can be quoted not only in text analysis, but also in Chinese activity classes such as composition evaluation and correction. For example, Xin Qiji's "Young people don't know the taste of sorrow, it is better to say that sorrow adds new words" to comment on the phenomenon of "sorrow" in students' compositions, and Wang Guozhen's "No matter what falls from the sky, life is always beautiful" to eliminate the sadness caused by students' failure in exams.
In a word, quoting poems in class can beautify the teaching language, stimulate students' interest in learning Chinese, enrich the content of the text, and make the teaching language concise and infectious. Of course, quoting poems is neither piling up poems to show off profound knowledge nor distracting students' attention. The key is how to combine it with the teaching content organically, so that it can be integrated seamlessly. By quoting poems, students can gain emotional experience and spiritual understanding, and get a kind of spiritual pleasure and satisfaction. Students are exposed to a classroom atmosphere with clear words, beautiful sentences and full of sounds and emotions. There is no doubt that "if you eat olives, their taste will remain for a long time."
Jiang, a teacher in Wenling No.2 Middle School in Zhejiang.