What is the role of fairy tales in Chinese teaching in primary schools?

Fairy tales are a kind of children's literary style that narrates (or simulates) the scenes of childhood life in children's language and expresses the special feelings and experiences of childhood from the perspective of childhood. They have the characteristics of magic, fantasy, narration and childlike innocence. The spiritual essence of fairy tales is the naive, naive, brave, enterprising and energetic beauty of primitive life. They are often moved by vivid characters, attracted by the wonderful and bizarre story of their works, and yearn for all kinds of fantastic life scenes. In this process, they vent their feelings, release their active imagination and get a game-like happy experience. At the same time, unconsciously, they have established common sense of life in their hearts and formed the values necessary for general survival and integration into social groups. Fairy tales, as a way and emotional model, are deeply loved by children and are also an important part of the Chinese curriculum in the middle and lower grades of primary schools. For example, in the ninth set of national textbooks, fairy tales are mainly arranged in primary schools 1 ~ 3 grades, and there are more than a dozen * *. Although our Chinese teaching is aware of the importance of fairy tales, we often don't fully understand the characteristics and needs of children. Therefore, in fairy tale teaching,

The first manifestation of content utilitarianism: influenced by the concept of Chinese tools, fairy tale teaching is used as a means to train Chinese knowledge and skills. Out of the 50' s and 60' s, the Chinese course was turned into a political course. Since the 80' s, the Chinese teaching has raised the instrumentality to a very high position, highlighting the position of "double basics". The compilation of teaching materials also adopts a logical order centered on knowledge and ability. This change has certain positive significance to the scientific development of education in China since the new period, but it is also one-sided. In fairy tale teaching, the humanistic connotation of works and the different functions of different works in Chinese education are ignored. Some scholars classify texts into four types according to their types and different functions: fixed text, sample text, sample text and used parts. Examples are used to learn their vivid knowledge about poetry and its reading and writing, samples are used to learn their reading and writing methods, and usage mainly refers to Chinese knowledge, causing problems and providing information.

[1]. It can be seen that it is impossible to carry out "language and writing training" in all fairy tale text teaching to achieve the purpose of "improving listening, speaking, reading and writing ability". Therefore, we should correctly handle the relationship between instrumentality and artistry in fairy tale teaching. Fairy tales are an art form that children love to see and hear and conform to their psychology. In teaching, artistry should be the main content. Otherwise, fairy tale teaching is just a forced burden for children. The second manifestation of utilitarianism: overemphasizing the mission of moral education and ideological education, that is, in every fairy tale teaching, we should analyze and excavate "telling a truth to children" to complete the mission of moral exhortation and ideological education. This tendency is manifested in the choice of teaching materials and in classroom teaching, such as Proud Peacock, which warns children to be modest and not proud. Cat Fishing expresses the theme that you can't do things half-heartedly. A gosling tells the children not to leave the group, as well as a magic pen and a good horse. The little match girl received the manuscript from 503. Date: 2009- 12- 15 Fund Project: Eleventh Five-Year Plan of Hunan Education Science (XJK08QJJ006). About the author: Li Xuanping (1969-), male, from Chaling, Hunan Province, Ph.D.. Mainly engaged in the research of Chinese curriculum and teaching theory. Children expose the evils of feudal society and capitalist society. This re-education fairy tale teaching ignores the characteristics of fairy tales, children's spiritual activities and unique culture. It is the result of starting from the realistic principles of the adult world. It regards children as "imperfect people", who have not yet understood the world, have no ability and have not grown up. It sets childhood as the preparation period. Prepare to be a future actor. In fact, the world of children is very different from that of adults and has its unique cultural connotation. "Children's culture is aesthetic, emotional, empathetic and enthusiastic, while adult culture is more scientific, rational and calm; Children's culture is full of imagination and creation, and adult culture is more rational and repetitive. " The kittens in Catfish (representing young children) chase and play dragonflies and butterflies in picturesque and vibrant nature instead of "concentrating on fishing" (representing work). This is a natural expression of kitten's nature and a manifestation of children's culture. Why do we have to ask it to resist the outside world like a female cat? And engage in such serious and important things as "fishing" in the adult world? Introducing Catfish Fishing into Chinese textbooks and criticizing the establishment of the teaching theme of "three hearts and two minds" are all manifestations of the central consciousness of adult culture. This central consciousness of adult culture is the result of the influence of traditional values. In China's traditional culture centered on monarchical power, patriarchal power and husband power, the existence of children is very despised, indifferent and even neglected. Therefore, although there are thousands of ancient literary works in China, which can be described as "a country of poetry" and "a country of prose", there are very few fairy tales in the true sense. Although after the May 4th Movement, with the spread of western democracy and scientific spirit, the values of people and children began to be discovered and established, writers began to pay attention to children and created a large number of children's literature works, some of which were selected into primary school Chinese textbooks. However, some works are still influenced by traditional values and educated from the standpoint of adults, but they don't really go deep into children's inner world, listen to their voices and understand their interests and needs. Moral education in fairy tale teaching is also the result of the unconscious inheritance of China's literary theory of "writing carries Tao". In ancient times, both literary creation and school education emphasized the function of moral education. Confucius commented on The Book of Songs: "There are 300 poems, one sentence. The so-called' thinking innocent'. " "Preface to Mao's Poems" also said, "Therefore, the gains and losses are correct, moving the heavens and the earth, feeling ghosts and gods, not close to poetry. The first king was a couple, showing filial piety, thoughtfulness, educating beauty, and changing customs. " The Han Dynasty demanded that literary creation "stop with courtesy and righteousness". In the Song Dynasty, Zhu Cheng's Neo-Confucianism pushed Taoism to the highest position, thinking that the article should clarify "righteousness". The contents of ancient primary school textbooks, such as Three Amethyst, Qian Wen Zi and Zengguang Xianwen, are mainly based on moral advice. This tradition of "attaching importance to Taoism" has become the psychological accumulation of our nation for thousands of years and has been affecting the present. Therefore, when creating fairy tales, choosing fairy tales and teaching fairy tales, the first thing that comes to mind is its educational function. Because some teachers are too eager to refine the educational significance of their works in teaching, children's literature class can easily become a moral education class, which alienates the goal and function of Chinese curriculum. In fact, fairy tales, as a literary style, have not only educational functions, but also cognitive and aesthetic functions.

[2]. The so-called cognitive function is that you can learn natural and social knowledge by reading fairy tales, such as the text "Little Tadpole Looking for Mother". If we focus on knowledge teaching, we can teach students the growth process of frogs, that is, the growth stage from eggs to tadpoles to frogs. But this is not the main task of Chinese class, but the task of common sense class. Therefore, cognitive function and educational function are the same. It can only be a secondary function of children's literature education. In the process of teaching children's literature, we should pay more attention to its most basic and main function-aesthetic function. Through the teaching of children's literature, students can get a wonderful experience, a feeling of life and emotional edification.

Two-form fairy tale works are generally strong in story and vivid in characters. Many teachers like to let students play roles and perform when teaching fairy tales. Practice has proved that, if used properly, this is indeed an effective teaching method, which conforms to the curious and active characteristics of primary school students, can stimulate students' enthusiasm and interest, and help students understand the image. It also conforms to the concept advocated by Chinese curriculum standards. "Chinese Curriculum Standard" points out: "Chinese is a practical course, so we should pay attention to cultivating students' Chinese practical ability, and the main way to cultivate this ability should also be Chinese practice. "

[3] Adapting the fairy tale text into a textbook drama for performance can be regarded as a kind of Chinese practice activity, which can effectively make up for the content of the text, extend it to extracurricular activities, supplement the content of the text, and also help to improve students' interest in learning Chinese. However, in the actual teaching process, there are some phenomena of abusing performance, only pursuing superficial excitement and beauty, especially in some open classes. The performance is just for others to see. Students are eager to let them play the role in the text before having a deep dialogue with the text. Some performances are attended by many students, who join their own imagination and perform lively performances. In other teaching, each study group takes turns to perform on stage, and the Chinese class becomes a performance class. For example, in the lesson "Little Tadpole Looking for Mother", after the students read the text, the teacher asked the students to remember the lines, think about what the small animals would say and do, and join their own imagination to practice the performance, and then organize the students to perform, so that the students can play the role of little tadpole, mother duck, duckling, frog, big fish and tortoise. Great white goose. Another manifestation is that some teachers have completely moved fairy tale works into the multimedia courseware on the screen, which is exquisite in sound, light, color and appearance, quite lively and beautiful, but the whole classroom lacks an internal aesthetic spirit and deep spiritual communication with students, so it is difficult to achieve good results. Therefore, in fairy tale teaching, we should choose the appropriate teaching form according to the specific characteristics of fairy tale works, not for the sake of form, but for performance.