How to Improve Middle School Students' Chinese Reading Ability

You can do more questions.

Extensive reading and dabbling in Chinese is an effective way to cultivate sentiment, perfect personality, cultivate humanistic spirit and accumulate national culture, thus realizing the educational function of Chinese. Its function is indisputable. However, reading is a comprehensive internalization process, and students' thinking and behavior habits are very important to the reading effect. How to standardize students' thinking and behavior, cultivate students' good reading habits and improve reading efficiency? I think it can be cultivated from the following four aspects.

First, think deeply.

1, reading should be accompanied by problem thinking.

Reading is not only a formal browsing, its essence is to fully perceive, comprehend and appreciate the article by developing thinking, mobilizing the original life experience and emotional experience, and internalizing it into one's own spiritual wealth with the help of association and imagination. Therefore, reading while thinking, reading while thinking, is the real reading.

Because modern middle school students have a wide range of reading contents and diversified understanding of the meaning of the article, students' reading experience is limited. If there is no problem guidance and guidance, students will extrapolate or grope secretly when reading, and the role of reading and the educational function of Chinese will be out of the question. If the teacher sets the best problem situation, stimulates the students to relate the content of the work with social life, and lets the author's emotional catharsis collide with his own spiritual experience, then the students will start to think and concentrate, and then enter the state in disguise, and gradually feel the literary atmosphere and humanistic spirit of the article. For example, when I organized students to read Liu Yuxi's My Humble Room, I designed the following three questions: ① What does the author think of this humble room? On this basis, what do you think of the author's attitude towards life? (3) Draw a sentence that the author is satisfied and optimistic about life. These three questions not only have instructions to guide students' overall understanding and arouse emotional experience, but also have tips to appreciate details and pay attention to accumulation.

2. Think about not training idioms.

The richness, vividness and diversity of national languages and the "understandable but difficult to express" characteristics of many things in article reading determine that thinking in reading should be historical, emotional and aesthetic, and the design of thinking questions must be profound, emotional and aesthetic. Because this kind of thinking focuses on the process rather than the result, and pursues the subjective state rather than the objective answer. Imagine that every article or paragraph has such an analysis question behind it: which word the word echoes, which sentence is the central sentence or the turning sentence, what is the central idea, what is the general idea of the paragraph, how many parts the article is divided into, and how many levels the paragraph has ... Then, the content structure of the article is dismembered into groups of bloodless language parts, and the harmonious artistic conception of the article is separated and shallowed, making it impossible for students to have an overall understanding and aesthetic perception. This kind of reading has completely become the popular paragraph training in the past. Rational analysis and rote memorization are time-consuming and laborious, which seriously restricts students' creativity and imagination.

Second, imagine

Thinking here refers to imagination and association. Imagination and association are very important in reading. Because the language of all works, no matter how vivid, is always dull and lifeless in writing. Only by entering the reader's eyes can we be activated through the reader's inner feelings and imagination, and then form various artistic images. The vividness, richness and persistence of these artistic images in readers' minds directly affect readers' understanding of works, their perception of life and their own aesthetic taste. Therefore, in reading, teachers should arouse the wings of students' association and imagination, and let students sketch and smear all kinds of artistic images to their heart's content.

This requires teachers to give guidance on methods: 1, which can expand the imagination of the sketch part of the text. For example, studying the Market in the Sky will make students continue to imagine the life scene of the Cowherd and the Weaver Girl "walking with lanterns". 2. With the development of the content of the article, we can understand the author's emotions to shape the image; It also allows students to create new images according to their own wishes. For example, after watching Kong Yiji, I will induce students to create a new "Kong Yiji" with the topic "What will life be like after Kong Yiji walks out of the hotel with a broken leg". 3. You can keep your imagination in reading, so that artistic images always appear in students' hearts and eyes like movies; You can also recall your imagination after reading, put the artistic image in your life and compare it with reality, so as to complete the image reconstruction. After reading the article Ansai Waist Drum, if students have the opportunity to see the scene or related video materials, they will leave an indelible impression on the image created by the original.

Imagination in reading, imaginary reading, is a reading skill and a reading method. Students may not be used to it at first, but teachers should pay attention to guidance and strengthening, and gradually form it.

Third, hard back.

Recitation is the extension and strengthening of reading, and its function cannot be underestimated. Liang Heng once said: "There are many ways to learn Chinese, but I think one of the most basic and simple ways is to recite ... Only when you have dozens of model essays in your stomach can you follow the rules and follow the rules, and Fiona Fang can use it freely." From this point of view, "rote learning" is also a shortcut to learn Chinese well and increase the background.

Practical experience tells us that recitation in reading should do the following:

1, select the correct chapter. Texts required to be recited in textbooks and ancient poems recommended to be recited in the syllabus must be recited verbatim, and punctuation marks are no exception. Write beautiful scenery, obscure human nature, and words rich in profound philosophy of life.

2. Endorsement is like swallowing. Recite what you know, what you don't understand, and recite as many classic chapters and excellent essays that have been circulated by the Chinese nation for 5,000 years as possible, so that students can eat them alive and swallow them into their memories. As for artistic conception and theme, students can have a general understanding, although students are vague about it, which is inevitable. With the increase of knowledge and experience, those things will gradually melt like accumulated ice, forming a gurgling stream with a long history.

3. Combination of recitation. If reciting is to accumulate wealth for the future, then reciting is to "enjoy" in time and enjoy it immediately. When you recite, you recite. If some beautiful paragraphs or articles were understood or understood at that time, you might as well "shake your head" and recite them. Only by reciting in this way can you appreciate the subtleties of the article. If you feel that you have "memorized" the taste, you don't have to recite it.

It's faster to apply these when reading.

Classification of Chinese problem-solving methods

1. Expression: narration, description, lyricism, explanation and discussion.

Second, the expression techniques: symbol, contrast, contrast, suspense setting, echo before and after, desire to promote first, express meaning by holding things, express feelings by borrowing things, associate, imagine and set off (positive contrast, negative contrast).

Third, rhetorical devices: metaphor, personification, exaggeration, parallelism, duality, quotation, rhetorical question, repetition, intertextuality, contrast, metonymy and irony.

Four, the six elements of narrative: time, place, people, the cause, process and result of things.

5. Narrative sequence: sequence, flashback and insertion.

Sixth, description angle: positive description and side description.

Methods of describing characters: language, action, manner, psychology and appearance.

Eight, the perspective of describing the scene: vision, hearing, taste and touch.

Methods of describing scenery: the combination of dynamic and static (writing static by moving), the combination of generalization and concrete, from far to near (or from near to far).

X. Description (or lyric) methods: positive (also called direct) and negative (also called indirect).

XI。 Narrative methods: general narrative and detailed description. Twelve. Description order: chronological order, spatial order, logical order.

13. explanation: examples, numbers, analogy, comparison, definition, classification, explanation, imitation and quotation.

Fourteen, the plot of the novel is divided into four parts: beginning, development, climax and ending.

Fifteen, the three elements of the novel: the character, the plot and the specific environment.

Sixteen, environmental description is divided into: natural environment and social environment.

17. Three elements of argumentative writing: argument, argument and argumentation.

18. Argumentation is divided into factual argument and rational argument.

Nineteen. Argumentation methods: example (or fact) argument, reason argument (sometimes called quotation argument), contrast (or positive and negative contrast) argument, metaphor argument.

20. Method of argument: argument and rebuttal (rebuttable argument, argument, argument)

Twenty-one, the structure of argumentative essay: total score, total score, total score; There are often parallel and progressive parts.

Twenty-two, the role of quotation marks: citation; Emphasize; Specific appellation; Negation, irony, irony

Twenty-three, dash usage: prompt, comment, summary, progression, topic change, interjection.

Twenty-four, others:

(A) the role of sentences in the text:

1, prefix: opening point; Render the atmosphere (narrative, novel), bury the foreshadowing (narrative, novel), and set suspense (novel) as an auxiliary foreshadowing for the following; Below the general collar;

2. In the text: connecting the preceding with the following; Below the general collar; Summarize the above;

3. At the end of the article: point out the center (narrative, novel); Deepen the theme (narrative, novel); Pay attention to the beginning (argumentative, narrative, novel)

(2) The function of rhetoric: (1) its own function; (2) Combined with sentence context.

1, figuratively personified: vivid;

Answer format: written vividly+object+characteristics.

2, parallelism: momentum, strengthen the tone, in one go and so on. ;

Answer format: emphasis+object+characteristics.

3; Questioning: arouse readers' attention and thinking;

Answer format: arouse readers' attention and thinking about+object+characteristics; Rhetorical question: emphasis, emphasis, etc.

4. Contrast: emphasize … stand out …

5. repeatedly emphasize ... strengthen the tone.

(3) Answer to the meaning of the sentence:

In such a topic, a word or phrase in a sentence is often expressed by metaphor, contrast, metonymy and symbol. When answering the question, reveal the object it refers to, and then clear the sentence.

(4) Can one word in a sentence be replaced by another? Why?

Verb: No. Because the word accurately, vividly and specifically wrote ...

Adjective: No. Because this word vividly describes ...

Adverbs (such as all, most, very only, etc. ): no. Because this word accurately describes the situation of … (table degree, table limit, table time, table range, etc.). ), after the change, it becomes ... not in line with the facts.

(5) Can the order of two or three words in a sentence be reversed? Why?

I can't. Because (1) does not conform to the law of people's understanding of things (from shallow to deep, from surface to inside, from phenomenon to essence) (2) this word corresponds to the above one by one (3) these words are progressive, interlocking and cannot be exchanged.

(6) Summary of paragraph meaning

1. narrative: answer clearly (when and where), who did what, and what will be the result.

First, think deeply.

1, reading should be accompanied by problem thinking.

Because modern middle school students have a wide range of reading contents and diversified understanding of the meaning of the article, students' reading experience is limited. If there is no problem guidance and guidance, students will extrapolate or grope secretly when reading, and the role of reading and the educational function of Chinese will be out of the question. If the teacher sets the best problem situation, stimulates the students to relate the content of the work with social life, and lets the author's emotional catharsis collide with his own spiritual experience, then the students will start to think and concentrate, and then enter the state in disguise, and gradually feel the literary atmosphere and humanistic spirit of the article. For example, when I organized students to read Liu Yuxi's My Humble Room, I designed the following three questions: ① What does the author think of this humble room? On this basis, what do you think of the author's attitude towards life? (3) draw a sentence that the author is satisfied and optimistic about life. These three questions not only have instructions to guide students' overall understanding and arouse emotional experience, but also have tips to appreciate details and pay attention to accumulation.

2. Think about not training idioms.

Second, imagine

Third, hard back.

Practical experience tells us that recitation in reading should do the following:

It's faster to apply these when reading.

Classification of Chinese problem-solving methods

1. Expression: narration, description, lyricism, explanation and discussion.

Second, the expression techniques: symbol, contrast, contrast, suspense, echo before and after, desire to promote first, express meaning by holding things, express feelings by borrowing things, associate, imagine and set off (positive contrast, negative contrast).

Third, rhetorical devices: metaphor, personification, exaggeration, parallelism, duality, quotation, rhetorical question, repetition, intertextuality, contrast, metonymy and irony.

Four, the six elements of narrative: time, place, people, the cause, process and result of things.

5. Narrative sequence: sequence, flashback and insertion.

Sixth, description angle: positive description and side description.

Methods of describing characters: language, action, manner, psychology and appearance.

Eight, the perspective of describing the scene: vision, hearing, taste and touch.

Methods of describing scenery: the combination of dynamic and static (writing static by moving), the combination of generalization and concrete, from far to near (or from near to far).

X. Description (or lyric) methods: positive (also called direct) and negative (also called indirect).

XI。 Narrative mode: general narrative and detailed description XII. Description order: chronological order, spatial order, logical order.