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误点一:诗歌教学中的“不读”和“死读”。 诗歌是用精炼、形象、富有节奏感的美的语言材料来装璜生活中的美。因而,它具有极强的美感。有人生怕伤及它的整体美,以它“只可意会,不可言传”为借口,采取极不负责的态度,把它划为“课外自读”科目。这与老师将一个色、香、味俱全的苹果密封在一只精致的盒子里,使学生无法辨味,又有何异呢? 也有凭“熟读唐诗三百首,不会吟诗也会吟”之经验,在“读”字上狠下功夫,潜心于“认读”、“领读”、“朗读”、“默读”、“背读”、“想读”等等之法的研究上,还自鸣唯其如此,才能既不损诗的整体美,又可体味出诗的“意”来,殊不知“读”不出层次(即由表及里,由语言框架到意境蕴含),“读”那也只能停留在识记和积累上,远未达到“审美”、“鉴赏”的境界。其结果只能是“读诗
One of the delays: “not reading” and “dead reading” in poetry teaching. Poetry uses the refined, vivid and rhythmic aesthetic language materials to decorate the beauty of life. Therefore, it has a strong sense of beauty. There is a fear of injuring one’s entire beauty. As an excuse for it to “can only be expected and cannot be said”, it takes a very irresponsible attitude and classifies it as a “self-reading after class” subject. This is in line with the teacher’s sealing of an apple of color, smell, and taste in an exquisite box so that students can’t discern it. What is the difference? The experience of 吟 吟 , , 经验 经验 经验 经验 经验 经验 经验 经验 经验 经验 在 在 在 , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , At the same time, it is only because of this that it can not only undermine the overall beauty of poetry, but also appreciate the “idea” of poetry. It does not know that “reading” is not at the level (that is, from the table and the inside, from the linguistic framework to the artistic conception). “Reading” can only stay in memorizing and accumulating. It is far from the realm of “aesthetic” and “appreciation.” The result can only be "read poetry