Reflections on the Chinese version of Maupassant's Apprentice 1 In this open class teaching activity in our school, the text I taught was The Apprentice of Maupassant. This article tells the story that French writer Mo Bosang asked Flaubert to direct his writing when he was young. Under the careful guidance of his teacher, Mo Bosang carefully observed and thought, accumulated a lot of materials and wrote many famous works with world influence.
In teaching this course, my overall design concept is: "Let students study independently and explore cooperatively", and guide students to experience Mo Bosang's diligence and good teaching in reading. At the beginning of the class, I designed the reading of undergraduate words to check the students' mastery of new words and phrases. It feels good! The following are the key links in this lesson. Ask the students to read the natural paragraphs of Text 2-9 silently and think about what Mo Bosang asked after three times. How did Flaubert indicate separation? Which sentence is the most critical in each instruction? What are Mo Bosang and Flaubert like?
By studying the text and exploring learning, students know that "studying hard, practicing hard", "observing carefully" and "discovering the characteristics that others have not discovered or written" are the essentials of writing a good article, but this only stays at the level of "knowledge" and has no experience in how to apply it to writing. Therefore, in the second and third instruction in teaching, I showed the fragments of characters' appearance description in Mo Bosang's Sunday at Flaubert's House, aiming at "observing carefully" and "discovering the characteristics that others have not discovered or written" respectively, so that students can read and appreciate, and find the effect of detailed description after "observing carefully" and "discovering uniquely" from the fragments in writing, thus increasing students' performance.
In the teaching design of this class, I am most satisfied with Flaubert's "The Second Instruction to Mo Bosang", which gives students enough time to talk with the text, partners and teachers. Let me guide the students to read the seventh paragraph freely, think while reading and see what they find. Students will soon find that there are nine problems. I went on to say, "Yes! So many questions, what does Flaubert want to tell Mo Bosang? Next, please read silently and think carefully. " This time, the students fully talked with the text and thought about reading. During the classroom communication, they learned that Flaubert had to tell Mo Bosang that there was a lot to write and they should watch carefully.
At this point, the communication between teachers and students should be over, but I didn't stop there. On the contrary, I asked: What would Flaubert think in Mo Bosang's mind? Guide students to reread this article freely. After reading it, talk to each other at the same table. One student reads every question in Flaubert, and another student talks about Mo Bosang's thoughts after reading every question. This question extends the problem to understanding the meaning of the text-it is wonderful to understand Flaubert's intention to ask questions and Mo Bosang's studious study. The students expressed their opinions and talked about it in succession.
After full communication between students, I said, "The teacher listened carefully to your communication just now, and I found that everyone can get in touch with Flaubert and enter the inner world of Mo Bosang! Now I will read this article well with you. When you read Flaubert's questions, every time you read a question, I will fill in Mo Bosang's inner thoughts. " This is a process of harmonious communication between teachers and students, in fact, it is also a process of dialogue between students and texts, and it is also a process of students entering Flaubert's heart. In the whole process, students' thinking sparks can be generated, and the images of master and Mo Bosang can be sublimated. The image of a wise and persuasive master and studious Mo Bosang seems to appear in front of the students. Students seem to be listening to the endless touch of the master, and feel the warm and wise inculcation of the master from the supplement of the teacher, so as to have a perfect spiritual dialogue with the master. Students effectively broke through the difficulties in communication and dialogue, and deeply felt Flaubert's obedience and Mo Bosang's studious and understanding image, which laid the foundation for later feeling Mo Bosang's absorbed observation.
In addition, in the extension, I designed to observe a teacher or classmate and tried to write about him or her with "painter's technique".
Students naturally learn "careful observation" from the text, learn from the practical application of "careful observation" in supplementary extracurricular reading, and then observe the records to complete the writing exercise. Students have experienced the pleasure of "applying what they have learned", which has played a strengthening role in stimulating students' initiative in learning.
Reflections on the Teaching of Maupassant's Apprentice 2 The Apprentice of Maupassant tells the story that French writer Mo Bosang asked Flaubert to guide his writing when he was young. Under the careful guidance of his teacher, Mo Bosang carefully observed and thought, accumulated a lot of materials and wrote many famous works with world influence. The narrative is clear and progressive, and it is clear from how to observe and how to write. In the classroom, I try to make students actively participate in building an efficient classroom. Here are some things that impressed me the most:
1, grasp the main line and break through the difficulties.
There are two main clues in this article. One is that teachers and students are fond of teaching and diligent, and the other is what efforts must be made to write a good work. In teaching design, I focus on reading Flaubert's quality around the first clue, guide students to summarize some writing methods, only let students browse the text and briefly talk about Mo Bosang's quality.
2. Dig deep into the difficulties.
Mo Bosang's second consultation is the difficulty of this course. How to make careful and effective observation is what children lack at the moment, and a series of problems there also reflect Flaubert's profound literary foundation and careful guidance to the younger generation. Help students understand "how can there be nothing to write?" In this theme, I design to let students talk about their experiences from the aspects of personality and writing methods, and then guide them to understand how to observe life and further understand Flaubert's persuasive and tireless teaching.
Reflections on the Pre-class Teaching of Maupassant's Apprentice 3. I think not only students but also our teachers should read well. Mo Bosang has an open-minded and studious attitude. He learned and succeeded. If we also read this article with a serious attitude, we will certainly gain a lot: First, we are willing to endure hardships and practice. We also need Flaubert's teaching to guide us now. Second, carefully observe and ponder. It's just that we read the text, not the students. Third, discover the unique characteristics of things. The reference significance of this point is that we should also find an honest and true self in teaching.
The first task of this class is to examine the questions, learn "Writer Card-Mo Bosang" and expand the study of Flaubert's related materials.
The second task is to check the preview effect. First, read the text by name. In the process of checking the text for the first time, guide students to understand the special intonation and punctuation of some sentences in this text, such as "So-how can I make Kung Fu home?" And how to read the seventh paragraph. The second is to understand the meaning of keywords.
The third task is to guide students to clarify the process of Mo Bosang's three apprentices.
Ask the students to read the text with questions: What purpose does Mo Bosang come to the teacher with every time? What did Flaubert teach him?
On this basis, I asked: Why are there three apprentices? What's the difference between these three times?
After the students read the text again, Ethan said: Every time Mo Bosang gets something different.
Obviously, this is an answer that most students can get. According to this answer, I immediately instructed the students: Why didn't Flaubert teach Mo Bosang everything at once? Don raised his hand: Flaubert didn't do it. He just wants Mo Bosang to try bit by bit and succeed step by step. My eyes lit up: Do you realize the difference between these three times? Yes, the three apprentices in Mo Bosang are a "step by step" process. Then why did Mo Bosang succeed and become the "king of short stories"? Next class, let's take a closer look.
Finally, I assigned three preview assignments:
1, the second question after the text, understand the sentence with real life.
2. Read it in advance and think about it: What kind of teacher is Flaubert? What kind of student is Mo Bosang?
3. Complete a special task: A careful observation can observe people passing by the door.
Just as our teachers need to study hard before class, only by making preparations before class can students participate in classroom learning more purposefully and have further thinking and gains.
Reflections on Teaching Chinese in Maupassant 4 After learning Flaubert's three instructions on Mo Bosang's writing, students understand that writing should not only rely on reading accumulation and diligent practice, but also carefully select materials when writing. As Flaubert said, "It is not enough to observe carefully what you want to write, but also to find the features that others have not found or written ..." Those "things that others have not found or written" need us to have a pair of discerning eyes, and we need to learn to find them in peacetime, and use them to discover people, things, objects and scenes in life and capture the beauty that passes by. At present, students' compositions are very poor and have no new ideas. It is precisely because they have not learned to discover, to use their own "eyes" and to observe with them.
After teaching Master Maupassant, I also arranged an activity for students to observe their parents or classmates, people waiting at the station or cars on rainy days, and write down their characteristics. Although students' exercises are "varied", it can be seen that students have the ability to observe and discover in infancy.
I think, if we often let students do this, then students' ability to capture and collect writing materials will gradually improve, and the written composition will certainly be vivid.
Reflections on the Teaching of Apprentice in Maupassant, China The fifth part of Apprentice in Maupassant is mainly about Mo Bosang, who loved writing since he was a child and got careful guidance in order to write good works. When teaching this text, I closely follow the characteristics of the title of the article-briefly summarize the information of the article, guide students to predict and question reading when introducing new classes, and try to guide students to explore reading from the topic.
First, grasping the topic and questioning reading can guide students' reading inquiry direction.
"Learning is expensive and suspicious, small doubts are small, and big doubts are big." Asking questions is the beginning of thinking, and also the beginning of students' reading inquiry. In teaching, students have a strong interest in reading inquiry after making some reading predictions on the theme. At this time, I guided students to question deduction in time, and students suddenly entered rational thinking from the perceptual reading prediction just now, which pointed out the direction for students to further read and explore.
Second, grasping key words and asking questions can help students understand the text materials.
In teaching, I grasp the understanding of the word "Kung Fu" to start teaching and distinguish between "Kung Fu" and "Kung Fu". But "Kung Fu" refers to writing level, writing potential, skills and so on. "Hard work" means being willing to endure hardships and practice hard, which leads students to question: Where can we see Mo Bosang working hard? After studying the text repeatedly, the students found that "Kung Fu" there also means "Need to work harder".
Third, explore doubts in writing and cultivate potential.
In the teaching process, how to learn Flaubert's writing in detail? I focus on guiding students to learn Flaubert's clear, orderly and well-founded way of expressing things: first, let students learn the orderliness of his words. For example, when Mo Bosang went to Flaubert for the third time, Flaubert took a step forward on the basis of teaching Mo Bosang to observe carefully for the second time: If writing should have characteristics, it is necessary to grasp the characteristics. In this way, from shallow to deep, step by step, so that his words are very organized and hierarchical. Second, let students learn from him. When Flaubert expressed his views, he didn't just talk about principled standards, but didn't give specific examples. In the process of reasoning, he pays attention to connecting with actual examples, thus making what he said convincing. For example, when Mo Bosang visited his home for the second time and observed the carriage without results, Flaubert listed the carriages in different scenes to inspire Mo Bosang. Such vivid examples left a deep impression on Mo Bosang's mind, and finally made him gain something.
After teaching Master Maupassant, I arranged a little exercise. Ask students to observe the familiar people around them carefully on Saturday, record all kinds of people in detail, and communicate again on Monday. Therefore, students carefully observe, record in time, and write vividly. I think if we often ask students to do this, then the potential of students to capture and collect writing materials will be gradually improved, and the written composition will be vivid and concrete.
Our Chinese teaching is not only to satisfy students' understanding and emotional experience of the text, but also to strengthen the practicality of Chinese teaching on this basis, so as to make the two basic training of Chinese solid.
Reflections on the Teaching of Apprentice 6 in Maupassant, China. First, grasp the whole and follow the law of reading teaching.
Reading is a complex language activity and psychological activity, and a complete reading process can be roughly divided into three vertical levels: recognition, understanding and appreciation. The law of reading is "whole-part-whole", and the teaching process of reading must conform to the students' reading law. Therefore, our teaching is to let students understand the general idea of the article first and have a preliminary understanding of the author's mood. On this basis, they can deeply understand the content of the article, truly understand the article through a deep understanding of the language, and finally return to the whole. You can talk about the feelings of the full text, or you can talk about the evaluation of the characters ... and then summarize and refine them, so as to rationally grasp the ideological content of the text.
"Master Maupassant" is to embody the idea of grasping the whole as far as possible, so that students can first understand the main idea of the article and have a preliminary feeling about Mo Bosang, and then guide students into the text, grasp key words and sentences, experience how Mo Bosang asked for advice three times, feel the character from it, and finally return to the whole, so that students can talk about what impression Mo Bosang left on you after learning the text. This not only follows the law of reading teaching, but also Mo Bosang and Flaubert are gradually established by students in reading-admirable and worth learning! Instrumentality and humanism achieve harmony and unity.
Second, the way to taste the language for students
Entering the text and savoring the language is one of the fundamental tasks of learning Chinese. In reading teaching, teachers attach importance to the taste of language, so that students' thinking ability can be developed and their aesthetic ability can be improved. Classroom teaching should let students taste the language and teach people to fish.
Master Maupassant is a sixth-grade text. After I determined the teaching goal of this class according to the year and unit, I taught it according to the author's writing idea-asking for advice three times. In class, I pay attention to teaching students the basic methods of tasting language and feeling emotions. For example, when Mo Bosang asked Flaubert for advice for the first time, Flaubert said: Your kung fu is not home yet! I grasped the puzzle of "Kung Fu", first taught students to look up the original meaning in the dictionary, and then talked about what "Kung Fu" really means through the whole class. There is also an understanding of "branding" and "concentration". Let the students talk about their original intention first, and then teach them how to understand the meaning of words in the text in context. For the second experience of "observing with rapt attention", I guide students to compare the difference between the first and second "observing with rapt attention", and then use life to imagine how Mo Bosang would "observe with rapt attention" when a carriage sped by in the storm and scorching sun ... teaching students the methods of comparing, connecting, imagining and reading these tasteful languages, not just for students.
Third, do a good job in dialogue and communication with students.
Classroom teaching is a dynamic process, and teaching objectives, tasks and values are generated and realized in the process of communication and collision between teachers and students, so that students' reading inquiry activities are always in the endless cycle of dialogue between teachers and students, from approaching the text with questions, shallow reading comprehension to entering the text, analyzing words and phrases and personalized reading comprehension. From interactive communication and interactive reading to expressing feelings with sound, three-dimensional reading is a process of students' thinking leap and spiritual sublimation.
Fourth, expand extracurricular resources.
With the gradual deepening of Chinese curriculum reform, Chinese teachers no longer regard textbooks as the only classroom teaching resources. Text-related information curriculum resources such as words, pictures, audio and video are widely used in reading teaching, which broadens the content of the text, broadens students' horizons and enables them to have a deeper understanding and experience of the text.
In the article "Master of Maupassant", Flaubert repeatedly instructed Mo Bosang to observe the carriage. After learning the text, I chose a passage about the carriage in Mo Bosang's masterpiece boule de suif. This information is an organic supplement to the text, which makes students truly feel that Mo Bosang's description of ordinary carriages is so superb, which not only confirms Flaubert's teaching to Mo Bosang, but also confirms Mo Bosang's diligence and talent. In addition, a large number of his masterpieces will increase students' confidence in learning exercises: as long as Zi is willing to endure hardships, practice diligently, observe carefully, and be good at discovering and grasping characteristics, he can also write his ordinary composition well! Realize the humanistic teaching goal of this course.
Reflections on the Teaching of Chinese Maupassant as a Teacher Part VII "Maupassant as a Teacher" This lesson mainly understands how Mo Bosang understood the teacher's remorse step by step through silent reading of the text, and learned and learned Mo Bosang's spirit of being diligent and eager to learn. In the teaching of this course, I have achieved people-oriented, ignited the spark of passion and solved the practical confusion.
1, people-oriented: My initial teaching design was to lead out through the keyword "brand": What left a brand in Mo Bosang? Why did it leave a deep impression? But since students like the word "passion", it shows that the word has left a deep "brand" on him. What we have to deal with is: to respect the needs of students from the traditional knowledge-based and subject-based transformation, and I will start with the needs. The accident caused by "welcome" made me reflect on everything that is student-oriented.
2, ignite the spark of passion: after the teacher quoted the topic, the students' interest in learning is not strong. What is the reason? I also asked the students to consult Maupassant's materials in advance, and tried my best to design some interesting languages to attract their attention, such as "outstanding French critical realist writer" and "world master of short stories", but why not arouse the students' interest? Because he is too far away from our reality. While Yao Ming is "visible" and "tangible", children are eager to learn from Yao Ming, which has ignited their passion for learning. I think that at this time, the role models around me may make the children's emotional investment more positive than the teacher's words. Have a good emotional experience in the learning process, stimulate a strong demand for further study, and become more and more actively involved in learning. This may be an emotional goal of a three-dimensional goal. )
Reflections on the Teaching of Apprentice in Mo Bosang, China The Eighth Apprentice in Mo Bosang mainly tells about Mo Bosang's three visits to Flaubert in order to write good works, which shows Mo Bosang's persistent pursuit of literary career, Flaubert's support for the younger generation and his concern for the growth of literary youth. The text is closely related to the topic, and the key point of "learning from teachers" is described layer by layer. For senior students, they already have the necessary understanding and perception potential. Therefore, in this class, I mainly ask students to read silently with a general question, combine keywords to feel the characters, and then deepen their impressions through perceptual reading and learn some writing skills and expression methods. I have mainly grasped these degrees in the teaching of this course.
First, pragmatism and the scale of retreat.
Familiar with the text, grasp the key words to understand the text, and read the text with emotion on the basis of understanding the text, which is the most basic activity in Chinese classroom. Multimedia, integrating into life and expanding reading are the places where Chinese lessons leave the text to retreat. There is no doubt that this is also Chinese learning that embodies the new curriculum concept, but it is very difficult to show it all in class. Therefore, in class, I only developed a carefully selected description of "carriage" in Mo Bosang's boule de suif. My intention is to make students understand even an ordinary carriage. After careful observation and careful consideration, they can write its distinctive spirit and essence. At the same time, I think Mo Bosang gained something by "observing the carriage with rapt attention".
Second, the relationship between reading aloud and feeling.
"Reading" is the eternal theme of Chinese class. Without reading, there is no Chinese flavor. Although the language of this lesson is easy to understand, it is very interesting to chew it carefully. The whole class, from autonomous learning, cooperative communication to wonderful display, is permeated with different forms of reading aloud, from which enlightenment, emotion and methods are nurtured, giving them a strong Chinese flavor.
Third, the sparsity and secrecy of teaching links.
The teaching of this course can be summarized by "123". "One", a question, at the beginning of the class, show a general question, and let the students know the learning theme of this class: "Read it three times for advice, grasp the key words, and discuss what kind of student Mo Bosang is, what kind of teacher Flaubert is, what Mo Bosang has gained and what inspiration he has given me." This kind of teaching has achieved "everything goes smoothly". "Two", two clues, one bright and one dark, the bright line is the process of Maupassant's three instructions before and after; Dark lines are some essentials for the camera to guide students to learn writing, such as "practicing carefully, observing carefully and trying to figure it out with your heart". "Three", focus on reading the words asked Flaubert three times. It not only reflects Flaubert's enthusiasm for supporting the younger generation and caring for the growth of literary youth, but also learns some writing skills from it. This should be the biggest gain for students.
Of course, "teaching is always an art of regret." My language needs to be further refined, and students' questioning potential needs to be further cultivated. Some students' leading role has not been positioned yet, and they regard themselves as "singers" and "spectators" rather than learners and hosts. They can't interact with their classmates in time, and the timing is not appropriate enough. When I teach again, I must pay attention to these aspects and try to do better.
Reflections on Apprenticeship Teaching in Maupassant, China. Maupassant's Apprentice mainly describes Mo Bosang, who loved writing since he was a child. In order to write good works, he worshipped Flaubert as a teacher and got careful guidance, which showed Mo Bosang's persistent pursuit of his beloved career, Flaubert's support for the younger generation and his concern for literary youth.
In order to learn this lesson well, I have been thinking and revising from studying the teaching materials carefully and determining the teaching objectives to studying the students and determining the teaching methods, in order to let the students actively participate and build an efficient classroom. Let me talk about the most impressive points:
First, dig deep and break through key and difficult points.
Mo Bosang's second consultation is the difficulty of this course. How to observe carefully and effectively is what children lack now. A series of problems here also reflect Flaubert's profound literary foundation and careful guidance to the younger generation. Help students understand "how can there be nothing to write?" In this theme, I design to let students talk about their experiences from the aspects of personality and writing methods, and then guide students to understand how to observe life and further understand Flaubert's persuasive and tireless teaching.
Second, change roles and promote enlightenment by reading.
In this class, I guide students to read aloud by changing the role of any link in learning, which well reflects the role of Chinese in the classroom. Among them, the key point is to read Mo Bosang's words from Flaubert, try to figure out the writing method, highlight the characters, and experience Flaubert's persuasive and tireless quality. Through reading aloud, students participate in it; Through reading aloud, students understand; By reading aloud, the students realized that. ...
Third, guide and guide students to analyze words.
In class, when students exchange reading results, I try my best to guide and guide them, so that students can understand the characters' qualities well and easily summarize the practice methods, thus completing the learning objectives of this class.
But there are still the following aspects that need to be worked hard:
1, the initiative in learning should be given to students, and students should not lead them by the nose.
2. The ability of classroom regulation needs to be strengthened.
Reflections on Apprenticeship Teaching in Maupassant Chinese 10 The Apprentice in Maupassant mainly describes Mo Bosang's devotion to Flaubert as a teacher and his careful guidance for writing good works, which shows Mo Bosang's persistent pursuit of his beloved career and Flaubert's support for the younger generation and care for literary youth.
After importing the text, I asked the students to teach themselves the text: read the natural paragraphs of Text 2-9 silently, and find out Flaubert's writing method of teaching Mo Bosang in three consultations. Let the students find the methods of "being willing to endure hardships, practicing diligently", "observing carefully" and "persevering and discovering characteristics", and let the students realize that Flaubert is a good teacher by asking questions. Then let the students browse the text and find out the sentences that Mo Bosang learned. When the students find the "brand", show the new word "brand" with the camera. Then, learn from Mo Bosang, who is a diligent student. The overall structure of the article is like this. In the classroom, the overall goal has been basically achieved, but there are still many problems. After class, I communicated with President Sun and reflected on myself. I have summarized the following points.
1, dictation of words at the beginning of class, only stopping writing without feedback, is not solid enough. It is not good to repeat a detailed dictation word in class with "gushing".
2. The teaching language is not standardized and rigorous, and the evaluation language is relatively simple. Efforts should be made to make targeted evaluations in the future.
3. The word "turn" is not explained properly, and there is no demonstration writing in class.
4. Time control is not good enough, books are read less, and students' perception is one-sided. Because of the time, browsing text has become a form.
5, the teaching attitude is not generous enough, calm, walking around in the classroom during class, this involuntary behavior should be controlled.