How to innovate the teaching of ancient poetry and prose in junior middle school Chinese teaching

Innovative teaching and practice of ancient poetry in junior middle school

First, the teaching design of ancient poetry should run through the new concept of new curriculum reform.

As we all know, the basic idea of Chinese curriculum reform is to improve students' Chinese literacy in an all-round way, correctly grasp the characteristics of Chinese education, actively advocate independent, cooperative and inquiry learning methods, and strive to build an open and energetic Chinese curriculum. "These basic concepts are the core of our curriculum reform, the starting point of our classroom teaching and the guiding ideology of our teachers' teaching design. Only by embodying these ideas in teaching design can teachers get rid of the shackles of traditional teaching models.

Second, the target design of ancient poetry teaching plans must reflect three dimensions.

The three-dimensional goal of Chinese course is "knowledge and ability, process and method, emotional attitude and values". In actual teaching, many Chinese teachers often only pay attention to the first two goals, ignoring the goal of "emotional attitude and values" and separating the three goals. This teaching design does not meet the requirements of curriculum reform. Every time I take over freshmen (I teach key classes), I will consciously check their mastery of ancient poetry. Whenever I mention the title of this poem, most students will recite it fluently, but when I ask students about their appreciation of this ancient poem, they know almost nothing. For example, everyone is familiar with Li Shen's "Compassion for Farmers": "If you plant a millet in spring, you will reap 10,000 seeds in autumn. There are no idle fields in the four seas, and farmers still starve to death. " Many students will learn to write by heart, but they can't tell the relationship between a millet and 10 thousand seeds at all, and they can't understand the deep social reasons between bumper harvest and hunger. Their study of poetry only stops at reciting, and they memorize it completely for the exam. Of course, it's not the students' fault, but our Chinese teacher ignores the basic requirement that three-dimensional goal design should permeate, integrate and be inseparable when formulating teaching goals.

Third, cultivate the habit of autonomous learning with the help of effective resources.

Chinese Curriculum Standard requires students to read the text correctly, fluently and emotionally in Mandarin. As junior high school students, most of them can already look up Xinhua dictionary. Teachers should ask students to use reference books before class to remove obstacles to new words. The concept of new curriculum reform points out that "actively advocate independent, cooperative and inquiry learning methods", so Chinese teachers should know how to use effective curriculum resources to serve our teaching. We can mobilize students to read newspapers and magazines in the library or use network resources to find information about ancient poetry, so as to deepen students' understanding of ancient poetry. For example, students of great poets such as Li Bai, Du Fu, Bai Juyi, Fan Zhongyan, Su Dongpo and Xin Qiji can also find a lot of information about these great poets themselves. If we persist for a long time, these practices will cultivate students' good habits of autonomous learning and active inquiry, and will also mobilize students' enthusiasm for learning, which fully reflects the main role of students and should be advocated.

Understand some common sense of ancient poetry, learn to divide the rhythm, and let students experience the musical beauty of ancient poetry.

Ancient poetry can be divided into classical poetry, Yuefu poetry and modern poetry. The division between classical poetry and modern poetry is based on the appearance of metrical poetry in Tang Dynasty. Modern poetry, also known as modern poetry, is divided into metrical poems and quatrains, both of which are metrical poems. However, there are two kinds of phonological arrangement of metrical poems: one is flat and even, and the other is flat and even. Therefore, the rhythm of ancient poetry is divided into four-character band 22 and five-character band. Modern poetry is free verse, and there is no such restriction. For example, in Li Shangyin's Notes for Friends in the North on a Rainy Night, we can divide it like this: "Wen Jun │ Return date │ Not yet, Bashan │ Night rain │ Rising autumn pool. │ * * cut │ candle when the west window, but words │ evening rain (seven-character poem). For example, in Wang Wei's "Crossing the Guandong", we divide the rhythm like this: "Bike │ Want to ask the border, return to China │ Live too long. Peng │ out, Yan │ into Hu Tian. Desert │ solitary smoke straight, long river │ falling yen. Xiao Guan │ │ │ │ │ │ │ │ │ In Yanran "(the division of five-character poems). If our Chinese teachers understand the common sense of these ancient poems and guide students, we can completely avoid joking in the same tone as reading ancient poems and modern poems in class, and at the same time let students appreciate the unique rhythmic beauty and musical beauty of ancient poems.

Five, teachers should guide students to pay special attention to taste the artistic beauty of ancient poetry in teaching.

The artistic conception beauty of ancient poetry is the key and difficult point in the teaching of ancient poetry. We should not only dig deep into the content and emotion of the work through the language of the work, but also base ourselves on the reality, contact the students' reality, contact the times and rely on the whole work to experience the taste. Teachers can let students grasp the image, figure out the image, and spread the wings of association and imagination to taste the artistic conception. At the same time, we should grasp the situation of the protagonist, so as to get unexpected results. For example, Ma Zhiyuan's "Tianjingsha Qiu Si": "Dead vines and old trees faint crows, small bridges and flowing water, old roads and thin horses, the sun sets, heartbroken people are at the end of the world." There are only five sentences and twenty-eight characters in this poem, but nine things are written, which are skillfully and naturally integrated into a picture, forming a mutual contrast between movement, light and shade, background and subject. In particular, using the harmonious beauty of "small bridges and flowing water" to contrast the sadness of "there are plenty of fragrant grass in the end of the world" has played an extraordinary role, allowing students to enter the artistic conception of poetry and experience the sad mood of homesickness.

Sixth, find examples from ancient poems to educate students in patriotism.

Now the students we are facing are all post-90 s students, most of whom are only children, who grew up with bottles. They are smart and fashionable, they are avant-garde and innovative, but they are self-centered and have a weak sense of the country. For example, stars wearing kimonos at concerts and China employees selling state secrets in the Rio Tinto case are typical cases of the lack of patriotic education for the younger generation. Therefore, as a Chinese teacher, it is an unshirkable responsibility to educate students in patriotism in teaching. Lu You's loyalty to "the lonely village has no self-pity, thinking of returning to the wheel platform"; Xin Qiji's heroism of "there is no king in the world, and he becomes famous after death"; Wen Tianxiang's "No one has died since ancient times, so we should manage our own history" and die for our country. The spirit of death is the best epigram of patriotism education. These great poets are also role models for students to learn and curriculum resources for Chinese teachers to carry out patriotic education for students. Chinese teachers must make good use of it.

Seven, encourage students to interpret ancient poetry in multiple ways, and teachers should grasp the value orientation of the article.

As we all know, "a thousand readers have a thousand Hamlets". Similarly, in the teaching of ancient poetry, Chinese teachers should encourage students to interpret in multiple ways, while respecting students' unique experiences. Of course, we should pay attention to the value orientation of poetry content. For example, when I was teaching Su Shi's "Hunting in Jiangchengzi Mizhou", I analyzed "drawing yellow from the left and holding blue from the right" and "shooting tigers to see Sun Lang". Many students questioned that a person who hunts tigers should not be called a hero at all! When this view appeared, I didn't blame the students, because I think they are students in the new century. They can be environmentally conscious and deserve teachers' happiness, so I also praise them for their courage to question. Of course, I also took the opportunity to guide them to pay attention to the heroic ambition to fight back against the enemy reflected in the theme sentence "I can bow like a full moon, look northwest and shoot wolves", which is the key to this poem. As for the equipment, fighting tigers is just the heroic image of the hero portrayed by the poet. After my guidance, I not only respected the students' unique experience, but also let them return to the text, correctly grasp the value orientation of poetry and avoid entering the value misunderstanding of my article.

Eight, the use of ancient poetry teaching, to guide students to establish a positive outlook on love.

"Ask how the world is, only teach people to be committed to life and death" and "Which girl is not in love". Adolescent junior high school students are full of curiosity about the opposite sex, and puppy love is everywhere! You haven't noticed that couples on and off campus are twittering at me, and what's more, they don't even know how many months they are pregnant. In addition to parents and students, biology teachers and Chinese teachers should also guide students correctly and help them establish a correct view of love. Li Qingzhao's "cutting constantly, reasoning is still chaotic, leaving sorrow, and my heart is not a taste"; Li Shangyin's "Spring silkworms will weave until they die, and the candle will turn to ashes before it dries" and "When the candle is cut at the west window, talk about the rain in the evening." ; As a Chinese teacher, we should make good use of these emotional education resources and take the opportunity to educate students to correctly handle the relationship between boys and girls and establish a correct view of love.

Of course, the above methods are just my own bold innovation and attempt in the teaching of ancient poetry, and they have indeed received good results. The ancient poems in my class are very popular with students, and both teachers and students are intoxicated by the ocean of China culture, which is full of fun! In the future teaching, I will boldly innovate, dare to explore and seriously practice, so that my teaching level will reach a higher level.