Students are not interested in learning Chinese, and some even feel tired of learning. As a Chinese teacher, we should try our best to arouse students' enthusiasm. The new curriculum standard also points out that students are the masters of Chinese learning. Chinese teaching should stimulate students' interest in learning, pay attention to cultivating students' awareness and habits of autonomous learning, and create a good autonomous learning situation for students. Therefore, we should try our best to create a teaching situation to awaken students' perceptual representation and make them willing to experience it. The creation of this situation can stimulate students' enthusiasm for learning with well-designed leads, stimulate students' interest in learning with beautiful leads, put a beautiful piece of music to attract students' learning attention, create a beautiful or touching picture, and stimulate students' thinking about the picture. Of course, the creation of the situation should also be just right, so that students can have the expectation of reading at once.

Derive appropriate emotional situations

When teachers use affectionate leads to stimulate students' reading expectations and ignite students' reading "excitement", students can have a free and in-depth dialogue with the text enthusiastically and enter the preparation stage of individual experience. At this stage, teachers are required to be situational and dominant. For example, when teaching Qin Terracotta Warriors and Horses, the teacher introduced it affectionately: "1In the spring of 974, when people dug up thick loess in Anlintong, they found an army that had been sleeping for a hundred years, which shocked the whole world-this is Qin Terracotta Warriors and Horses. "When teaching" Biluochun ",the teacher said," Tea, a specialty of China, has a long history of tea culture in China. Wuxian County, Suzhou, China, is rich in a kind of tea, which is famous for its "green fragrance when rolled into snails". It's called Biluochun. When teaching the Battle of the Great River, the teacher introduced it with his passion for the first paragraph of the article. ..... This variety of lead design has aroused the upsurge of students' experience of the text, paving the way for learning the text or content or emotional experience.

Create a suitable music environment

According to the content of the text or the situation related to the author, we can choose the music that suits the situation and arouse students' interest. Introducing the music into teaching in form or content can not only ease students' nervousness, but also create a certain learning experience situation, which will help students quickly enter the study of the text. When teaching "Defending the Great River", the song "For Who" was played, and the singer's affectionate interpretation directly brought the students' thoughts into the summer of 1998, which laid the main tone of full-text learning.

According to the content of the text or the teaching goal of the text, let students choose music to read with music, create a certain reading situation for students, stimulate students' reading interest, and make students better understand the emotional theme of the text under a certain reading interest. For example, Romance of Love can be read aloud to those paragraphs with strong feelings. In the class of "approaching Bing Xin and feeling the fragrance of love", this piece of music was played at the right time, which pushed the students' understanding of Bing Xin's love story to a climax. Students' feelings come from their hearts, and naturally come out of their mouths when reading aloud. And "China Tea" has also brought a strong influence on China tea culture to "Biluochun".

These kinds of music with different emotional tones and melodies help students to grasp and understand the ideological connotation of the text, and make them influenced and infected by their thoughts and feelings.

Restore the appropriate picture.

Interpretation is dead, just like dissection, and reading aloud is alive, just like giving life to a work. Explaining can only make people know, and reading aloud can make people feel more. (Zhu Zuoren talks about reading aloud). We should teach students to read with two lines of sight: one is the physiological line of sight, that is, the line of sight of the eyes; One is the psychological line of sight, which is the line of sight of the mind. Let students read aloud with emotion and voice, and at the same time expand their association and imagination, just like "showing a movie" in their minds. Through various senses, symbols, sounds, meanings, representations, etc. All of them are organically combined, so that the content expressed by language and words can be integrated into a complete and continuous picture of life, which is active in students' minds. In this way, imagine "words" as "paintings", as if they were in them, and let them feel and experience the subject in all directions.

Experience is a picture thinking, which is different from experience. It not only pays attention to the psychological structure of subject, but also pays more attention to the dynamic construction of the unity of subject and object on the basis of experience. In other words, it is a kind of personal experience, and it is an activity to know things around you through practice. On the other hand, reading is a historical exchange or dialogue, which combines the author's experience with the reader's experience. This kind of communication is not the communication of their realistic personality, but the exchange of experience and experience through their works, that is, the writer has a dialogue with the reader in his creation, and the reader creatively experiences the experience that the writer poured into his works in acceptance. Experiential reading teaching should let our students imagine the vivid and rich pictures behind the language and improve their perception of the text itself. For example, when teaching Qin Terracotta Warriors and Horses, let students restore the magnificent picture behind the text through the perception of large-scale digital description; In the teaching of "Biluochun", with the help of the beautiful and moving tea picking pictures shown in the illustrations in this paper, students are guided to reproduce the tea picking pictures. When teaching Zheng He's voyages to the West, students are guided to reproduce the picture of Zheng He's fleet sailing at that time with the help of Zheng He's magnificent paintings shown in the illustrations in the article. When students describe their imaginary pictures with the help of language, they not only deepen their experience of the text, but also improve their ability to use language.

The generation of students' wisdom often happens under the influence of certain situations, because situations can make students invest to the maximum extent; Situation can make students have high sensitivity and active thinking; Situation can trigger students' association; Situation can stimulate students' emotional intelligence; Situation can stimulate students' inspiration ... In short, situation can promote students' perception.

Second, gallop imagination and form experience.

Imagination is the wing of mankind leading to the palace of art and an important means to cultivate students' humanistic quality and creative thinking ability. Our Chinese teacher should let students trigger emotions, arouse memories and arouse active association and imagination. In the teaching of true feelings, students can imagine their psychological activities and specific actions in rainy and snowy weather, and they can also imagine their psychological activities when I never want to learn the unique skill of throwing newspapers on the road and still get off the bus to deliver newspapers to the doors of every household. Students can imagine my psychology and actions of working honestly, and they can also imagine my difficulties in delivering newspapers in rainy and snowy days and understand them. On the experience level of emotional resonance, through association, imagination and taste, the emotions of the works are continuously injected into the hearts of students. However, if the aesthetic experience stays at this level, we often lose our sober judgment on the connotation of the work and cannot make an aesthetic evaluation calmly and objectively. Therefore, it is not enough to guide students to experience learning, and it cannot be limited to the experience of the work itself. According to the requirements of the new curriculum standard, the text is just a "shadow" and a platform for students to explore knowledge. Students can understand nature, society, life and life through the interpretation of the text, thus cultivating students' creative thinking ability. Therefore, the reading of works in textbooks should not only come from textbooks, but also jump out of textbooks and expand textbooks. At this time, I asked such a question: "Is this the only thing that the author has encountered during his one-year newspaper delivery experience?" After discussion and deep thinking, the students understand that the ups and downs don't stop there. After understanding this, I further build a platform: give some possible situations appropriately to help students expand their imagination. Students' imagination depends on the directionality of the text and is full of interest. Therefore, these movements and psychological imagination help students to grasp the character and ideological connotation of the work and deeply understand the essence of the article.

In the process of artistic creation, the creation of artistic image can not be separated from the imagination of the writer, who is full of profound experience and rich feelings for the image. For example, Balzac often can't help talking loudly with the characters in his works. In view of this, if the appreciator is indifferent to the work, how can he go deep into it to face the writer's soul? In teaching, in order to help students find opportunities for emotional experience, it is necessary to fully mobilize students' positive imagination, let them accumulate according to their own experience, and enrich and expand the image level of the original. For example, Guo Moruo's "Egret" depicts an elegant and refined egret with distant artistic conception and painters' splashing ink, which also leaves us with multi-level imagination space. When teaching, we should take "exquisiteness" and "endless charm" as the experience points, build a platform for students' imagination, and let students feel the rich and colorful contents contained in the language. Sometimes pay attention to the details of egrets standing at the top of small trees, and experience the leisurely artistic conception through imagination; Sometimes in the blank of the article flying low at dusk, imagine a quiet and far-reaching artistic conception; Sometimes at the punctuation mark, it says, "Maybe some people will find the fly in the ointment-egrets can't sing." Imagine with dashes and experience thought-provoking regrets ... At these times, teachers can guide students to spread their wings of imagination in time and let them fly in the time and space of reading with the help of language. From entering the text, then going out of the text and then returning to the text, the students' experience will be richer and their perception will be improved.

Third, interactive dialogue, role experience

There are a thousand hamlets in the eyes of a thousand people. The personal characteristics of experience enable each student to start a dialogue with the text according to his own ideas and perspectives, gain different horizons and present the diversity of reading. But this kind of reading also has shortcomings, because the knowledge acquired by individuals is often individual, disorderly and even accidental. This requires reading individuals to constantly communicate with classmates and teachers, learn from each other's strengths, and seek common rational understanding through dialogue between students, teachers and students. In the process of dialogue between teachers and students, teachers should give guidance on ways and methods, actively create dialogue situations, carry out effective discussions, feel and understand the text more deeply in the collision and interaction of thinking, and gain spiritual communication. Teachers should go among students, discuss, listen and guide, so that students' individual perceptual experience can rise to rational cognition. For example, when we were teaching Night of Life and Death in the Indian Ocean, the students thought that Pierre could not only remind the passing ships that there would be a tsunami and watch his wife die, but also leave with his dying wife and give his beloved wife a chance. In the teaching of Peng and his big black mule, the students think that Peng can not kill his beloved big black mule except to solve the urgent need of food shortage when the army crosses the grass, because there are still five animals, even if one is killed less, it will not bring any change. ; When students have different opinions, disputes and need the teacher's help urgently, the teacher promptly guides and guides the students to talk with the text and the teacher, and get closer to history and enter the story at that time. At the critical moment of life and death, Pierre's selfless dedication to saving others deeply touched his classmates. At the critical moment, the revolutionary spirit of loving soldiers above all else deeply infected students ... Through constant dialogue and communication, students' experience of the text has been improved.

Experiential reading teaching is under the guidance of teachers, teachers and students jointly create conditions for students to experience or participate as the main body. In movies and plays, directors ask actors to be "selfless" and "dedicated" An important criterion for us to evaluate an actor's performance is whether he "participates". Similarly, in reading teaching, if students can enter the text, enter the "role" and share the same fate with the characters in the works, then our speech taste will be in place. The common methods of role experience are role performance and role reading. The former is relatively more demanding and students are relatively well prepared. The highest level is to rehearse the textbook drama. This method is necessary occasionally, but it is not the norm. What we can do is to perform some fragments in the role, such as the description of "People's Liberation Army soldiers building human walls" in "Defending the Great River". Through the role performance, we can more deeply understand that the PLA soldiers were as strong as steel at that time. As for reading aloud for different roles, it is widely used. Reading aloud in different roles can not only concentrate students' attention, but also enable students to understand the text more deeply in an active atmosphere. If you choose a character you are interested in to read aloud, you will definitely ponder the inner feelings of the character carefully and share the same fate with the protagonist, so as to empathize with the understanding of the different personalities of the character and achieve both form and spirit. For example, in Einstein and the Little Girl, the dialogue they met three times can reflect the character's character. Through the reading of different roles, we can easily realize Einstein's approachable, informal and innocent little girl character. Mr. Ye Shengtao said: "The author has a good heart, and the introduction begins with relatives." Role experience method is one of the most direct entry methods.

For some texts with long length, complex structure and vivid plot, students can be guided to fully tap the favorable factors in the teaching materials, enter the designated role of empathy, and stimulate a strong desire to express. According to the psychological differences of children's personality, let children choose their favorite roles to perform. With the situation, children "play the role-understand the role-experience the role-show the role-be the same as the role-have an epiphany", which brings the real liberation of children's overall personality, free personality, subjectivity and creativity. And through role-playing, role dialogue and role emotional communication, the teaching content is more real and vivid, students get deeper experience, the teaching process is optimized and the classroom teaching efficiency is improved.

Four emotional reading, language experience

Although the language we read is static, silent and black and white, what enters our spiritual world is smart, fiery and colorful. When we look between the lines, we actually step into a colorful time and space, just like notes. At this time, we often read our own experiences through personalized reading, cultivate a sense of language, and feel the scenery and beauty of words. Because a student's emotional reading is itself a manifestation of his keen sense of language and writing.

Teaching students to read the text is to cultivate students to transform the silent text symbols from vision to thinking into audio language to reproduce stories, describe scenery and shape characters. "The real Chinese class should put the feeling, taste, accumulation and application of language in the first place, because all the information connotation and emotional thoughts in the text are conveyed through language." Independent reading can not only immerse readers in the scenes of joys and sorrows, but also arouse the love and hate of other students. In the reading experience, students walk into the inner world of the characters in the works, feel the stories and understand the ideological connotation of the works.

Mr. Fang Zhiyuan, a Chinese educator at China Normal University, said: "The best reading realm is to be there, put yourself in the other's shoes and feel the same." Professor Fang's words show the importance of experience in Chinese reading. Chinese reading teaching must attach importance to the application of experience. Only by letting students experience, can our teaching deeply touch students' hearts. A reading class that touches students' hearts must be vivid, which will make students feel something, enlighten their wisdom and arouse their thinking. Experiential reading teaching pays attention to students' autonomous learning, since the enlightenment learning and adaptive learning, so that students can truly become the masters of the classroom, and the knowledge they have learned is constantly internalized in repeated experiences and collisions, and gradually becomes a kind of ability. This is just as the new curriculum standard says: "Reading is students' personalized behavior, and teachers' analysis should not replace students' reading practice. Let students deepen their understanding and experience in active thinking and emotional activities, feel and think, be influenced by emotions, gain ideological enlightenment, enjoy aesthetic taste, and cherish students' unique feelings, experiences and understanding. "