All previous Chinese syllabuses in China, including 1956 high school literature syllabus, have not put forward the requirement of reading without writing. Senior high school students' writing training is mainly practical styles such as narrative, explanatory and argumentative. In the elective courses Poetry and Prose and Novel and Drama published in 2003, the Chinese Curriculum Standard for Ordinary Senior High Schools (hereinafter referred to as the Chinese Curriculum Standard for Senior High Schools) put forward: "Try to create poetry and prose, organize literary societies, show achievements and exchange experiences." "Pay attention to observing social life, enrich life experience, consciously accumulate creative materials, try to create novels and scripts, and communicate with each other." This is one of the important breakthroughs in the new curriculum standards of Chinese in senior high schools, and its educational value should be paid enough attention.
First, it is conducive to improving students' ability to use the spoken and written language of the motherland.
Improving students' ability to correctly understand and use the language and characters of the motherland is the most basic purpose of the "teaching purpose" of the previous syllabus. The Chinese Curriculum Standard for Senior High School further clearly states that "we can use Chinese correctly, skillfully and effectively in our daily life and other fields of study", which obviously puts forward higher requirements for the use of Chinese than in the past. How to use it correctly, skillfully and effectively? One of the most important ways is to strengthen students' writing practice, including general article writing and literary creation.
Literature is the art of language. Modern literary theory holds that literary creation is a kind of "special discourse production". Literary discourse is not only different from "language" in grammatical sense, but also different from general scientific and technological discourse and daily discourse. Generally speaking, it is not used as a means of reasoning, but as a symbol system of description, expression and symbol. It often reflects the external world and expresses the feelings of the subject through the deformation and deviation of language terms to a certain extent. Literary discourse is creative. In different contexts, the pragmatics of different writers or the same writer is ever-changing and innovative at the same time. "Literary creation is not only based on discourse, but also aims to create a new discourse system, which is the artistic production of shaping literary images through creative discourse system." [1] It can be seen that the value of letting students try this kind of "special discourse production" is very different from that of general article writing training. The language of narrative, expository, argumentative and other articles emphasizes strict logical and grammatical structure, and requires language standardization, clear concepts and clear reasoning, which is simple and simple; Literary discourse, on the other hand, pursues a high degree of purity and conciseness, pays more attention to visualization and appeal, pays more attention to artistry, skill and personal style, and creatively uses language in different contexts, so that limited discourse contains infinite' meaning'. After reading and appreciating many times, students have learned the language features and charm of literary works, but this still stays at the stage of "knowing"; Only through my own creative attempt can I consciously apply what I have learned in my speech practice and achieve the combination of "knowing" and "using", thus improving my ability to use Chinese language and characters more effectively.
Second, it is conducive to improving students' thinking ability in images.
Image is the basic feature of literature, and literary creation mainly depends on thinking in images. Thinking in images is based on appearances, and it will always be vivid. Creators need to grasp objective things vividly when observing and experiencing life. In the process of artistic conception, the creator reproduces the original life materials in his mind with the help of the ability of thinking in images, and then casts a brand-new and complete artistic image after comparison, selection, generalization and synthesis. Thinking in images can focus scattered things vividly, highlight hidden things vividly, and even create things that have never been seen in life. Of course, thinking in images is not just a patent of literary creation. The reading and appreciation of literary works also need thinking in images, but mainly rely on text description; Thinking in images is sometimes used in the writing of general articles, but it is not regarded as the main way of thinking throughout literary creation. Students are trained in the practice of trying to create literary works, and the effect of improving their thinking ability in images will be higher.
The significance of cultivating students' thinking ability in images lies not only in learning and using Chinese well, but also in creating indispensable favorable conditions for thinking. The research results of modern brain science and psychology and many facts in the history of scientific and technological development have confirmed that in the excellent thinking intelligent structure of human beings, the image thinking mode and the abstract thinking mode are complementary, mutually conditional and inseparable. Thinking in images plays an important role in scientific research. It provides an indispensable advantage for people to carry out rich and vivid creative thinking activities, and it is of great significance and sometimes even plays a decisive role in making great scientific contributions to people. In this sense, trying literary creation can improve students' thinking ability in images, and at the same time improve students' creative thinking ability necessary to become innovative talents.
Third, it is conducive to improving students' aesthetic ability.
The beauty of literature and art is first manifested in the sensible literary image created by language and words, and literary appreciation must first feel the literary image. Without full feeling, there can be no real aesthetic feeling, and no deep understanding can be gained from the practical experience of literary characteristics. Therefore, in order to improve the level of literary appreciation, we should first pay attention to the feeling of literary image in the practice of appreciation and gradually cultivate a keen and accurate aesthetic feeling ability. Mr. Jin Kaicheng pointed out: "Improving the ability to feel depends on repeated training, and there is basically no immediate trick. But relatively speaking, there are still some effective methods. One of the most effective ways is to do some artistic creation by yourself. It is effective because of the following three points: (1) knowing the' doorway '...(2) knowing the' bittersweet' ... [2] What Mr. Jin is talking about here is art appreciation in general, especially as one of the art categories.
For literary appreciation, if you don't know the "doorway", you can't find a way to appreciate it, you can't grasp the idea of appreciation, and it's even harder to feel the beauty of the whole art, so you can only "watch the excitement by laymen". But there are some "doorways" in art, which can only be understood but not expressed, and can only be explored and experienced by yourself. Doing a little literary creation can shorten the journey of exploration and gain a deeper experience, thus achieving the "expert knows the doorway" in literary appreciation. Mr. Jin believes that beauty and aesthetic feeling are diverse, one is the expression of human creativity, and the other is people's surprise and appreciation of this creativity. Understanding the joys and sorrows of artistic creation has become an important part of people's aesthetic activities. The bitterness of creation can only be realized by the creator through his own experience. Therefore, students have the personal experience of literary creation, which is helpful to feel the artistic creativity of works in literary appreciation, even if the failed creative practice helps to deepen their feelings. Otherwise, the aesthetic feeling of the viewer will be greatly reduced. All kinds of artistic creation are permeated with artistic dialectics. If you have a deep understanding and feeling of an art, it is possible to go from a little to an ordinary to a certain extent. For example, students trying to create a little poetry will not only help to feel the "doorway" and "bitterness" of poetry, but also help to feel the beauty of prose, novels and scripts, and even help to feel the beauty of other art categories.
Fourth, it is conducive to promoting students' balanced development and personality development.
Cultivating creative talents is an important goal of the new curriculum, and diversification and personalization are the soil for creativity. Creation includes scientific creation and artistic creation, and literary creation belongs to artistic creation. Just as we don't want to train all students to be scientists, we don't want to train all students to be writers. However, we still have to work towards this goal. Because, "not every Chinese classroom can find and train writers, but not every classroom has no future novelists and dramatists in bud." [3] The theory of multiple intelligences tells us that everyone has different nine intelligences more or less, and these nine intelligences represent different potentials of everyone. Every student has his own advantageous intellectual field and its potential, which can only be fully developed under appropriate circumstances. The "curriculum goal" of "Chinese Curriculum Standard for Senior High School" points out: Let students "broaden their horizons in the application of Chinese, initially understand their own potential and tendency to learn Chinese, and develop in their favorite fields if possible." Those students who have writing potential need educators to discover and know themselves in the application of Chinese. Their literary creation potential and tendency also need to be developed in specific situations. Let students try literary creation, which provides us with an opportunity to discover talents and creates a possible situation for them to tap and develop their potential in this field.
One of the "basic concepts of curriculum" in "Chinese Curriculum Standard for Senior High School" is to pay attention to the cultivation of Chinese application ability, aesthetic ability and inquiry ability, and promote the balanced and personalized development of students, and points out that "appreciation and creation of literature and art are important aesthetic activities." Aesthetic ability includes both aesthetic perception ability and aesthetic creation ability. In the past, only paying attention to literary appreciation and not mentioning literary creation was not comprehensive in cultivating students' aesthetic ability. Cultivating students' literary literacy should not exclude the literacy of literary creation, and loving literary creation is a higher expression of literary literacy. Compared with the writing training of general articles, literary creation can better reflect students' subjectivity, freedom and creative personality. Therefore, letting students try literary creation can promote students' balanced and individualized development, which is not only conducive to the individualized growth of a few students with characteristics, but also conducive to the cultivation of ordinary students' basic Chinese ability and literary literacy.
The educational value of letting students try literary creation is not limited to the above, but only the main aspects. In this regard, some people have various doubts. For example, Chinese education is not literature education. Will literary creation go astray? High school students have heavy schoolwork, how can they have leisure to engage in literary creation? Literary creation is very difficult for high school students. Can it work? Wait a minute. The author thinks that Chinese education is not equal to literature education, but Chinese education must include literature education. Let students try literary creation in high school instead of nine-year compulsory education; It is an elective course rather than a compulsory course; It is "hard work" to create rather than demanding too much; It is to "show the results" and "communicate with each other", which may not necessarily reach the level of publication. Therefore, this "attempt" should be carried out boldly.
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