In today's various exhibition classes, the introduction of new lessons is often vivid, but one teacher, when teaching the story of the sick plum restaurant, only showed the text annotation of the poem "A distant Altair, a beautiful girl by the Jiao Jiao River"-"A distant Altair, a splendid Vega" and asked: Is this translation accurate? The whole class suddenly quieted down, and the students were suddenly blinded and lost in thought: Is the text translated accurately? Then there was a whisper, and then the students got up and spoke: there is intertextuality in the poem, and the annotation of the text should be wrong. A word woke the dreamer and the student suddenly appeared. It is this teacher who gives students enough space to think. Only in this way can students realize that they can't be superstitious about textbooks, understand that they should feel the language with their heart, express their views in their own language, and make the classroom full of questioning and inquiry atmosphere. It is precisely because of this entry that students can think independently, discuss actively and ask questions boldly in the subsequent text translation study. I think this kind of study is beneficial to students' study. This is the effect of silence. In addition, in the teaching process, there are always some difficult and in-depth problems. If students are asked to answer immediately, only a few students may reach such an agile level of thinking, while most students will lose an opportunity to create and a process of in-depth understanding. However, the Chinese Curriculum Standard for Ordinary Senior High Schools clearly points out: "The physical and mental development of senior high school students is gradually mature, and they have certain reading and expression skills and accumulated knowledge and culture. Promoting the development of students' inquiry ability should be an important task of senior high school Chinese curriculum. It is necessary to "pay attention to the depth and breadth of students' thinking, let students enhance their inquiry consciousness and interest, learn inquiry methods, and make the process of Chinese learning a process of actively exploring unknown fields", and the cultivation of this inquiry ability obviously needs a presupposition of thinking. For example, when teaching Peacock Flying Southeast, students suggested that Liu Lanzhi could elope with Jiao Zhongqing instead of committing suicide. In response to this question, I didn't immediately ask the students to express their opinions, but asked them to close their eyes and guess the life scene after Liu Lanzhi eloped, and guess the life scene after Liu Lanzhi eloped for one year, two years and three years ... and then asked the students to describe Liu Lanzhi's psychological activities in language. In the speech, the students felt the deep pain of Liu Lanzhi. That kind of deep pain stems from her kind nature, and the happiness brought by elopement has long since vanished. I think it's because I left enough time and space for students to think that students have the possibility of full dialogue with the text, so that they can listen to the voice of the text, touch the hearts of the characters and truly understand Liu Lanzhi and Liu Lanzhi. In the silence of the students, Liu Lanzhi is so vivid, so flesh and blood.
Silence can give students wings of imagination.
Language and writing have rich meanings and feelings, but teachers can't tell them all. The so-called "words can only be understood but not expressed" and "words are endless" may be such a situation; And our experience of this situation can only spread the wings of imagination and let the soul fly. The Chinese Curriculum Standard for Ordinary Senior High Schools also points out that "we should pay attention to the practical activities of reading and appreciating works", "fully stimulate students' imagination and creative potential, and strive to improve students' aesthetic ability". All this shows that the Chinese classroom needs silence, not excitement. Just like the study of the poem "Autumn Night in the Deep Mountains", I let frivolous music accompany the recitation of the poem and immerse the students in the ocean of imagination. The students seem to see the spring, pine, bamboo and purple coming head-on, and feel the vivid pictures of moonlight, spring flow, bamboo sound, lotus movement, the return of Huan women and the fishing boat. How can such an artistic conception be described by a few simple "freshness"? It is precisely because of this imagination that students deeply realized Su Shi's evaluation: poetry is full of paintings; This painting is very touching, and there are poems in it. And this kind of imagination is because of the silence of the classroom and the silence of the students. Unfortunately, in today's classroom, teachers often abandon their taste for the essence of language, break the wings of students' imagination and replace it with complex and beautiful media reproduction. For example, when teaching Liu Yong's Yulin Ridge, a courseware showed students a picture of a son standing on the bank of Yangliuyiyi in a fluttering suit with a waning moon hanging from his head. This kind of picture, the image is the image, and the concrete is also the concrete, but it does not let the students rely on the autumn morning breeze, the waning moon and the willows of Yiyi to appreciate the myriad sorrows and endless lovesickness in the poet's heart at this moment through their own association and imagination ... Many years later, maybe students will think of the picture when they think of this word, but they will not have their own ideas. Originally, a thousand students could read a thousand Liu Yong from this, but a picture may turn a thousand Liu Yong into a constant Liu Yong. In order to let students experience this kind of situation, we can only give students a pure classroom, inspire their reasonable association and imagination in silence, and thus realize all the tastes in the text.
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