First, play back these two lessons. Teacher Liu's Love Life first introduced the topic of "walking between the small and the great" in the form of parody: "When you are hungry, what do you want most? Shake it; What do you want most when you are lying in a hospital bed? Shake it. " Then through the demonstration recitation of Lu Yiming, the host of CCTV, the students are brought into the artistic conception of "loving life" with their forefinger. After a preliminary understanding of this poem, Mr. Liu guided the students to analyze a prominent speech form feature of this poem: repetition and avoidance. In order to strengthen students' understanding of the speech form of this poem, Mr. Liu introduced another poem, Believe in the Future, Wang Guozhen's Love for Life, 20 17 Excellent Composition for College Entrance Examination, and Wan Li Great Wall is long, with a little jasmine fragrance, with his index finger, and instructed students to modify the rhetorical sentence "Here is China" on the spot, so that students can realize the value of avoiding repetition. Then, Mr. Liu guided the students into the text of love life through three philosophical questions, understood the specific content expressed in the text, and summed up my smallness, the suffering I experienced and the greatness of my attitude. On this basis, Mr. Liu supplemented his background material in the form of poetry-unforgettable pain of the times. In the last part, Mr. Liu guided the students to read Liu Min's View of talk about life Education from Confucian Life (Excerpt), Montaigne's Love for Life, and Ye Song's View of Life and Death in Chinese and Western Cultures and Its Educational Enlightenment (Excerpt), and completed the summary and understanding of life values in different cultural backgrounds on the spot.
The first part of teacher Cai's Love Life is to guide students to read poems aloud. Reading poetry aloud is very skillful, and senior one students don't have much experience in this respect. Teacher Cai gave thoughtful and meticulous reading guidance to students, and gave specific guidance to each poem from the aspects of pronunciation, rhythm and stress. At the same time, Gaowa Siqin's demonstration reading is introduced. Through various reading forms such as free reading, group reading and student representative reading, students can understand the essentials emphasized by teachers in reading practice. This session takes nearly 20 minutes. Then, in the second link, the teacher leads the students to grasp the emotion of this poem, and summarizes the methods to understand the emotion of this poem, such as: the title of the poem-love life; There are many points in the poem-loving life (repeatedly); The place with the most information in the text. On this basis, the main question is "Is the love of the index finger for life true love?" This paper combs the logic of expressing emotion in this poem: time (life and death) → scope (from individual to group) → reason → image → life situation. In order to make students better understand the index finger, Mr Cai made a detailed interpretation of the poet's bumpy life experience, and discussed the poet's secret inner world from four important time nodes. After successfully completing the second link, enter the last link of this lesson. Teacher Cai led the class around "How does this poem express its meaning in words?" This issue can be summarized as follows: (1) metaphor; Adverbs and conjunctions; Contrast; The lyrical way of self-expression; Fight. Finally, Mr. Cai threw out the first sentence of a poem written by himself in the above way: "Under a heavy stone/an unknown seed/looking for every crack/dreaming that there will always be a moment/it will definitely overturn the weight on it/it firmly believes in struggle and loves life." Ask students to imitate writing on the spot. The poems presented by the students at the scene exceeded the expectations of the participants and won applause from the students and teachers.
Look at the two classes of Mr. Liu and Mr. Cai. They are both wonderful and good. Fortunately, their "three degrees" (concentration, temperature and effectiveness) are outstanding. One is that both classes can pay attention to the construction and application of language in the choice of teaching content, which should be the advantage of both classes. Although they are different in the same class, and although the values of the two teachers are different, Mr. Liu pays attention to repetition and avoidance of speech forms, while Mr. Cai pays attention to metaphor and modifiers, but we can clearly see that both teachers regard speech forms as the teaching goal of this text. Secondly, both courses pay attention to the creation of situations and the presupposition and generation of effective questions, so that students can truly become independent thinkers, active discoverers and active practitioners in the learning process. What is particularly commendable is that what the two teachers teach the students is all hands-on and then passed on to the students. For example, the interpretation of the poetic background of Mr. Liu's "Unforgettable Pain of the Times" and Mr. Cai's "Love for Life" all bear the body temperature of the two teachers. The two teachers are not simply porters of knowledge, but have completed the shaping of students with their own personal demonstrations. Their creative spirit, sincere feelings and clever wisdom warm the young hearts of students, and the students actively participate in all aspects of listening, speaking, reading and writing under the inspiration of the teacher's spirit. The interaction between teachers and students is so natural and warm that it can be described as warmth and harmony. Thirdly, although the teaching effectiveness of these two courses has not been measured by measuring tools, it is undoubtedly effective from the perspective of teachers' feelings and students' reactions. As far as the visible part is concerned, the students in these two classes are ordinary students in experimental middle schools. It should be said that students' Chinese foundation is average, but the results of students' classroom speech, students' imitation writing and students' reading aloud reflect that students' listening, speaking, reading and writing abilities have been developed and improved to varying degrees, which fully proves that the two teachers' choice of teaching content is appropriate and the effectiveness of classroom teaching is good. As far as the intangible part is concerned, these two courses can be expected to cultivate students' interest in Chinese learning, accumulate corpus, improve their thinking ability and have a far-reaching impact on students. These are the highlights of the two classes.
The same stratum is heterogeneous, and its value lies not only in similarity, but also in difference. The two teachers are different in gender, and men and women are different; Different styles, one extensive and one delicate; Personality characteristics vary greatly, one is broad-minded and the other is meticulous. There are obvious differences between the two classes. To borrow President Jiang's words, one is boiled chicken, which tastes delicious. One is kung pao chicken, which tastes crispy. Teacher Liu's class is based on the consideration of group writing teaching, which breaks through the limitation of single text teaching and fully shows the width of group writing teaching. Teacher Liu's preview material for this course has six texts, all of which are highly heterogeneous and isomorphic, with aggregation, relevance and class attributes. The material integration strategy of "1+6" expands the space of classroom Chinese learning at once, which is essentially a reorganization of the teaching content of a single text. In addition to breadth, this course has a certain depth. For example, the comparison of life values between China and the West is a very thoughtful and cultural issue, and it is also a very difficult one. If Mr. Liu's class is a walking class, then this link is the summit. The so-called countless scenery in the dangerous peak, classroom teaching activities are an adventure of life, and Teacher Liu completed a bold adventure here. In the process of guiding students to extract information from various texts and summarize opinions, the cultivation of students' comparative thinking ability has been implemented. Unlike Mr. Liu, Mr. Cai chose to stay, squatting in front of every word worth staring at and savoring. For example, the nudge of words such as "miserable", "tramp", "beggar" and "a little bit" tickles the itch of poetry and makes people feel nostalgic. Teacher Cai's classes are less and he digs deeper. The traditional single text teaching has also reached a certain depth.
For the same poem, the two teachers have different concerns, different teaching objectives and different paths, but both have achieved good teaching results. On the other hand, in the current high school Chinese classroom teaching, the teaching mode of modern poetry is rather vague, the teaching methods are rather chaotic, especially the teaching content is extremely messy. What should be taught in modern poetry teaching? This question needs to be answered, not easy to answer, and needs to be discussed on specific works. For example, A Farewell to Cambridge is a classic modern poem, in which the profound and rich classical style is extremely obvious. The poet chose clouds, golden willows, sunset, blue waves, clear pools, green grass, starlight, summer insects and other images. These images are commonly used in China's traditional poems, but these common images give more fresh and unique feelings in the poet's works. The poet has a profound cultivation of classical poetry and won three flavors of "image". New poems are written like ancient poems-full of images and infinite charm. Based on poetry, knowing people, commenting on poetry and using images for association analysis can not only observe poetry, understand the poet's voice, but also strengthen feelings and improve the ability to appreciate poetry, which is a good method. For this kind of modern poetry with classical charm written in vernacular Chinese, the teaching content can be determined according to the procedures of classical poetry teaching, such as paying attention to the theme of poetry, catching the eyes of poetry, tasting language, grasping images and exploring artistic conception. Of course, new poetry is different from ancient poetry after all. We should also pay attention to the innovation of new poetry in form and technique, such as the rugged architectural beauty, the novel beauty of metaphor, the harmonious beauty of phonology and the flowing beauty of painting in A Farewell to Cambridge. In other words, the teaching of modern poetry should also pay attention to the individuality and characteristics of these classical modern poems, and modern poetry and classical poetry should not be confused. However, for Haizi's modern poem Facing the Sea and Blooming in Spring, which is not obvious in inheriting classical elements and vague in content, there is absolutely no need to waste time on what to write, but we should focus on how to write it, why to write it like this and what effect it has. The contradiction in the language of Facing the Sea and Blooming in Spring is particularly obvious. Among them, the famous sentence "facing the sea, spring blossoms" has obvious logical contradictions. Facing the sea, what you see is by no means spring flowers, only monotonous blue, only desolation and melancholy. If you want to see the scene of spring flowers, you should turn your back on the sea. This poem repeatedly says that from tomorrow on, the poet has been saying tomorrow instead of today, which is actually a contradictory pregnancy. In the hero's mind, happiness belongs to a certain moment in the future and is an illusion, but today's life is still far from happiness. In this case, it is full of internal contradictions and incomprehension, resulting in gaps between words. Through these contradictory languages, we can get a glimpse of the poet's contradictory and tangled psychology. In this regard, every reader can have his own understanding, such as career, love, survival, seclusion and so on. There is no need to limit this contradiction to one explanation. It is important that we guide students to pay attention to this unique text form-contradiction. Contradiction can make the text more profound, and the charm of the text lies in the tense contradictions and conflicts. Mr. Sun Shaozhen told us that reading and appreciation should start with studying contradictions. Therefore, finding the contradiction in the text and dissecting it can be determined as the teaching content of this kind of poetry. From this point of view, the determination of modern poetry teaching content should be based on the characteristics of poetry text, grasp the most unique text form of poetry text, explore the unique path to reach the text, teach students to understand the text, and teach students the path to understand the text.
Su Shi once said: "My writing is like a torrent, rushing out. On the flat ground, gurgling, although it is difficult to travel thousands of miles a day; And its twists and turns with rocks, shapes are everywhere and unknown. What is known often depends on what it does and often stops at what it can't. That's all. " The same is true of the modern poetry teaching realm that the author yearns for under the new curriculum standard. Based on the characteristics of poetry text, when you need to walk, just like Teacher Liu, you should open your eyes, take a step and enjoy the distant scenery. When you need to stop, just like Teacher Cai, squat down, stare and feel the beauty contained in the words.