2020- 12-20

What does classical Chinese teach? Speech is very important, so is writing. Classical Chinese is as important as classical Chinese. Words, articles, literature and culture are integrated. The teacher who gets the article is the reader. How to consider teaching content, how to design teaching and determine the end point; Learn from the situation and set a starting point. That's good. Some students' ambiguous things are the focus of our teaching. It turns out that they haven't even touched the door of Chinese teaching. We must study hard. Understand and enlighten. To be an excellent Chinese teacher, you should read some books every day. Since it is impossible to be rich or expensive, then do a little research. It is most important to live an ordinary life.

This is a book worth reading slowly. This is a book that you need to read with a pen.

First, the "one square" of classical Chinese

What we usually call "ancient prose" refers to ancient written works, including "classical Chinese" and ancient vernacular Chinese. Classical Chinese is an article written in the ancient written language "Classical Chinese", including works in the pre-Qin period and works written by later scholars imitating the written language in the pre-Qin period.

Classical Chinese is the carrier of China traditional culture. In classical Chinese, "classical Chinese", "article", "literature" and "culture" are integrated and complement each other.

(A) the characteristics of classical Chinese, first reflected in the "classical Chinese."

Classical Chinese is a written language of ancient Chinese based on pre-Qin Chinese. The difference between classical Chinese and modern Chinese is mainly manifested in vocabulary and grammar.

Compared with modern Chinese, most words have different meanings or usages.

Grammatically, the difference is not small. "Jun" says "beautiful" now, and there must be a "virtue" in it. According to modern grammar, the word "zhi" is redundant. "Who am I and the beauty of Xu Hongmei in the north of the city", "Don't be too confident" and "sit and talk about Tao" are all ancient syntax.

In a short passage, we can see that she is so different from modern China people. The characteristics of classical Chinese and classical Chinese are first embodied in "classical Chinese". Therefore, we learn classical Chinese on the premise of learning classical Chinese.

(2) Classical Chinese is the unity of "article" and "literature".

Classical Chinese in middle school Chinese textbooks are classics that have been read for a long time. They are not only practical articles, but also excellent prose works in China literature. As far as these classical Chinese are concerned, "Wen" and "Wen" are unified.

"Article" refers to its function. Some of them had clear practical functions at that time, such as the book Chen Qingbiao and the reply to Sima's suggestion; Some of them pretend to be Taoists, such as "Persuade to Learn", "Teacher's Talk" and "Sick Plum House". Some of them are written, such as Preface to Lanting Collection, Nanzhi Postscript and Ji Xiang Xuan Chronicle. There are travel notes, lyric sketches and main melody melody in the works that express ambition and embody Tao. The essence of learning classical Chinese is to understand what they say and what they say.

"Literature" refers to its forms of expression. Poetry and prose are the real classical literature in China. The literariness of classical prose works is mainly reflected in two aspects: the tempering of language and the exquisite composition. Learning classical Chinese, learning the composition of articles and understanding the art of refining words and sentences are two key points, with the aim of "improving one's appreciation taste and aesthetic taste".

The exquisite composition of classical Chinese and refined wording and sentences are often the joint points and essence of sitting and speaking. "the combination of literature and Taoism."

(C) "Culture" is a multi-level expression in classical Chinese.

Classical Chinese embodies the traditional culture of China in many ways. Let's start from four aspects:

1. Classical Chinese. It is the embodiment of China traditional culture. The language of a nation is the spirit of a nation, and the spirit of a nation is the language of a nation. The similarity between them is beyond anyone's imagination.

2. Classical Chinese and its traditional way of thinking. For example, the analogical argument in "Persuasion" and "Teacher's Theory" all reflect the perceptual national thinking mode. "Language is not only a tool of thinking, but also influences and restricts thinking."

3. Classical Chinese records specific cultural contents such as laws and regulations, astronomy and geography, and folk customs. This is an obvious culture, which is not the main aspect for middle school students to learn classical Chinese.

4. The feelings and thoughts of China ancient sages conveyed by classical Chinese are words and aspirations.

This is the direct embodiment of China's traditional culture, and it is also the main aspect for middle school students to learn classical Chinese. For example, "learning" in "encouraging learning" is the truth of "learning" life, rather than being reflected in rote memorization; The word "scholar" in Shi Shuo is the pursuit of "learning", which is completely different from the meaning of "student" mentioned today. These are the essence of China's traditional culture. The feelings of old friends in classical Chinese, such as Ailian Shuo, Humble Room Ming and Preface to Lanting Collection, have been lost in contemporary times, so they are particularly worth remembering.

Classical Chinese teaching is inseparable from China traditional culture. Education in the true sense is actually a cultural process.

The ultimate goal of learning classical Chinese is cultural inheritance and reflection.

The probability of using characters in classical Chinese in today's society is extremely low, but the core "culture" and "literature" of classical Chinese are obviously the parts that will still maintain vitality and charm even after another hundred years, which will also become the source of our contemporary thinking and learning.

Second, the essence of classical Chinese reading teaching

(1) Pay attention to the elegant style of classical Chinese and refine words.

The main task of the teaching design of classical Chinese reading is to find such key points in the teaching interpretation of the text and grasp the outline in the teaching design.

(2) The principle of handling words according to classical Chinese.

The principles for handling classical Chinese words are as follows:

1. Let it go. Some words in classical Chinese do not need special treatment. First, the ancient and modern are consistent, or the ancient and modern meanings are directly corresponding. If students have no difficulty in understanding it, they don't need to deal with it. Second, unfamiliar words and sentences that are difficult to remember are easy to annotate in textbooks. In general, students can learn about them with the help of notes.

2. Stand out from the crowd. Classical Chinese reading teaching should highlight the similarities and differences between ancient and modern "common characters". The word "Chao" in The Changes of Three Dynasties is easy to understand literally, and it is thought to be the "Chao" in Han and Tang Dynasties. The "dynasty" here actually refers to the period when an emperor was in power, so-called "one emperor and one minister". Textbooks often have no problem with such words, because there are too many to remember. Even if there are comments, they are often practical and simple to explain. Therefore, Chinese teachers need to pay special attention, and sometimes they need to supplement students with some vocabulary knowledge to outline the development network of word meanings.

3. go deep. It is not enough to have a superficial understanding of some words in classical Chinese. First, it embodies the author's feelings and thoughts. This is the focus of classical Chinese reading teaching, which should be explored from the outside to the inside to guide students to fully understand. Second, students need words to mobilize their life experience and specific feelings. For example, the expressions of "hair" and "rope" in "On the Mouse" (Su Shi) "Look, there is nothing left, hold a candle for it, there is a dead mouse inside" need to think about the extremely sitting together. This kind of words and sentences are often not annotated in textbooks. If they are not explained in depth, students will easily slip away. Even if there are notes, they are often not enough. For example, "Thank you for writing a book" (Tao Hongjing) "Fog breaks, apes and birds sing; As the sun sets, fish scales rise and fall. The textbook says "rest": "dissipation" and "sunset": the sun is about to set. Autumn: Autumn is only literal, and the key to understanding this place is its "associative meaning". If students are not guided to fully imagine the described situation, the following "really is the fairy capital of desire" will not be settled. In the above two cases, it is not enough to simply read back, explain and translate words and sentences.

4. separation. Common words in classical Chinese and some syntax listed in Chinese Curriculum Standard require students to master in the sense of "ancient Chinese", which often appears in the reading test of classical Chinese. The study of these words and syntax mainly depends on memory and needs repeated practice. This kind of practice has nothing to do with the understanding and feeling of classical Chinese, and should be relatively separated from reading teaching-either before class, after class or homework; You can also use the blackboard and wall newspaper to strengthen your memory in a planned way. Interspersed in the classroom, mixed with classical Chinese reading teaching, the result is often that both ends are not settled, and both sides lose.

(C) Pay attention to the application value of classical Chinese knowledge

Classical Chinese reading teaching, of course, needs to learn classical Chinese knowledge. Appropriate introduction of some classical Chinese knowledge will help students understand the text and gain the ability to draw inferences from others. For example, we should introduce the knowledge of "one-sided compound words" into "punishing them is the same" (listed by the teacher) and "working day and night" (peacocks fly southeast).

Two morphemes with related or opposite meanings are combined into one word. In a specific context, in fact, only the meaning of one morpheme is taken, and the other morpheme only plays the role of setting off syllables. This kind of word is called a compound word with partial meaning.

According to the relationship between words, the use of compound words with partial meanings in classical Chinese can be seen in two forms:

1. The two morphemes have opposite or opposite meanings.

Example 1: Then there is a cave at the foot of the mountain, and I don't know the depth (Shi Zhongshan Ji)

-"Shallow and deep" is the antonym, and only "deep" is taken here.

2. The meanings of two morphemes are similar or related.

Example 1: Today, a man went into the garden and stole his peaches and plums.

-"Garden" is a similar word, which means "a place where trees are planted and vegetables are grown". Here, it only means "garden".

"The north and the south are surprised by the clamor" (on snake catchers), "Buy horses in the east, saddles in the west, whips in the south and whips in the north" (Mulan Ci), "Don't be happy with things, don't be sad for yourself" (Yueyang Tower).

Intertextuality, also known as intertextuality, is a rhetoric method commonly used in ancient poetry. The ancient Chinese interpretation of it is: "Take part in each other's writing, and see the meaning together." Specifically, it is a form of mutual use of words: the upper and lower sentences or two parts of a sentence seem to say the same thing, but in fact they echo, explain and complement each other. [ 1]? Saying is one thing.

simple sentence

(that is, intertextuality in sentences)

The so-called single sentence intertextuality means that two words in the same sentence are intertwined, infiltrated and supplemented in meaning. For example:

(1) Smoke cage cold water moon cage sand. (Du Mu's Bo Qinhuai)

We should understand it this way: smoke covers cold water and sand; Moonlight is covered with sand and cold water. If you translate this sentence into: "Smoke blocks the cold water and moonlight blocks the sand", it will be all wet and meaningless.

(2) The bright moon in Qin Dynasty and the bright moon in Han Dynasty. (Wang Changling's "Out of the Plug")

Literally, "the bright moon in Qin dynasty was closed in Han dynasty" means "the bright moon in Qin dynasty shone in Han dynasty". However, it can't be understood as "the bright moon is still in Qin dynasty, and the border is still in Han dynasty", but it should be translated as: the bright moon in Qin and Han dynasties, and the border in Qin and Han dynasties. The words "Qin", "Han", "Guan" and "Yue" in the sentence are used alternately. It is understood as "the moon shines in Qin and Han Dynasties and traffic jams in Qin and Han Dynasties". That is, "the moon is still there, the traffic is still there, but things are different." It makes people feel the cruelty and misery of war.

antithetical couplet

(also called intertextuality)

Intertextuality means that the (lower) sentence contains words that have already appeared in the (upper) sentence, and the (upper) sentence contains words that will appear in the (lower) sentence, with complementary meanings. For example, in the current textbooks:

(1) Open my East Pavilion door and sit on my West Pavilion bed. (Mulan Ci, also known as Mulan Poetry)

This is also an intertextuality. The complete sentence is "open my Dongting door and sit on my Xiting bed;" Take off my wartime robe and put on my old clothes. " This sentence describes Mulan's joy and excitement when she saw the triumph of the past after twelve years in the army (in ancient Chinese, numbers are generally imaginary, so it is not necessarily twelve years).

(2) When there are dark clouds outside the window, it will be yellow to the mirror. (Mulan Ci, also known as Mulan Poetry)

These two sentences are also intertextual. The window is bright and clean, looking in the mirror is to manage the clouds, and the yellow flower is also this condition, which means "the window is bright and clean, and the clouds are yellow."

(3) "A hundred battles of generals die, and ten years of strong men return." (Mulan Ci, also known as Mulan Poetry)

Literally, it means "the general died in battle after many battles, and the strong man won after ten years in the army." This makes people wonder why the generals are all dead and the warriors are all back. In fact, "general" and "strong man", "invincible" and "returning from ten years" are mutually infiltrated and explained, and in the sense, they are all related to each other. The correct translation of this sentence is: "Soldiers (ordinary soldiers) have experienced thousands of troops in the army for ten years, some died in battle, and some returned home in triumph."

(4) The bright moon surprises the magpie, and the breeze knows at midnight. Xin Qiji ("Walking along Huangsha Road in Xijiang Moonlit Night")

The intertextuality of "quiet" and "bright" in the poem should be correctly translated as "the moon rises (in the middle of the night), which wakes up the birds and magpies in the tree and wakes up the sleeping cicada in the tree; I heard birds and cicadas singing in the soft night wind. " In this way, the artistic conception of words is richer and more beautiful.

(5) The bow becomes stiff and can hardly be pulled out, making it difficult to protect the iron clothes. (A song "Snow White Farewells Tian Shuji Wu to Go Home")

In these two sentences, "the general's horn bow" and "the armor of two guards" are intertextual, which should be understood as "the general's horn bow and the armor of two guards (here refers to everyone) can't be opened, and the armor is too cold to put on." It is more reasonable.

(6) don't be happy with things, don't be sad with yourself. Fan Zhongyan (The Story of Yueyang Tower)

This sentence is actually "don't be happy with things, don't be sad with things, don't be happy with yourself, don't be sad with yourself", which is an intertextual rhetorical device.

Essentials of text reading teaching

(1) Pay attention to the elegant style of classical Chinese and refine words.

Classical Chinese "classical Chinese", "article", "literature" and "culture" are integrated into one, which guides the focus of classical Chinese reading teaching.

In the above discussion, we have drawn the following conclusions:

The characteristics of classical Chinese are first embodied in "classical Chinese".

The essence of learning classical Chinese is to realize one's aspirations and ways.

Learning classical Chinese, studying the composition of the layout and experiencing the art of refining words and sentences are two key points. Exquisite composition and refined words are often the joints and essence of sitting and speaking.

The ultimate goal of learning classical Chinese is cultural inheritance and reflection. The main aspect of culture is the affection and thoughts of China ancient benevolent sages conveyed by classical Chinese, that is, the Tao expressed by words and aspirations.

These conclusions lead us to "the land of exquisite composition, the land of refined words and expressions" and "the way contained in words and aspirations", and the relationship between them.

I got up this morning to send my mother to grandma's house. When I got home, my son was watching TV.

Eat. Good. Ha ha ha ha ha ha ha