Paper Keywords: children's literature, literature appreciation, game characteristics, children's play spirit

Abstract: Children's literature appreciation is a game activity of the appreciation subject. In this game, on the one hand, children's readers show more active and selfless participation than adults; On the other hand, it shows an unintentional confrontation and rebellion, which not only has the pleasure of being awakened, experienced and discovered in reading, but also has the meaning of escaping from the real world and the text. This kind of release and projection of one's own psychological energy in the process of "playing" and "stubbornness" is the inherent feature of children's literary game appreciation.

Since the second half of19th century, children's games and game spirit have become a topic of great concern in academic circles. People discuss the connotation of games and their significance to human beings from the perspectives of biology, psychology, sociology and philosophy, and then draw the conclusion that games play an extremely important role in the development of human race culture and individual life. As Percy Neng said, the spirit of play, an "elusive and evasive ghost", can be found in some of the most unpredictable corners of life. In other words, the game spirit has become an important means to maintain and enhance human nature, which permeates all aspects of human life. Appreciation of children's literature is an important spiritual activity during children's growth. By practicing the principles of happiness, fantasy and freedom, it naturally blends into children's play activities and is deeply branded with the spirit of play.

Games are children's "play" and "stubbornness". In the pre-artistic thought, Banma said that the deep mechanism of "play" and "stubbornness" is "the release form of psychological energy brought by life impulse and the projection form of psychological energy brought by growth purpose", and its essence is "a nature of pursuing" energy "and" strength ". Inspired by this discussion, we might as well regard the game process of children's literature appreciation as a circle full of tension, which is a constantly moving circle with both centripetal force and expansive force, and its motivation comes from children's life needs and growth purposes. The centripetal force of this circle is that children actively participate in the whole process of literary appreciation with the mentality of "playing" and enjoy happiness in the release of energy; The outward expansion of this circle means that children, with a "stubborn" mentality, show unconscious resistance to the will of adults and enjoy freedom in the projection of energy in this self-sufficient world of literary appreciation. This dynamic psychological process of participation and confrontation is the process of children's appreciation of playfulness literature.

First, play: experience happiness in participation.

The reason why games attract children and become their indispensable state of existence is because games can bring great happiness to people. This activity, which is isolated from daily life by hypothesis, "is best judged by the charm standards existing in it and the happiness they provide" (Plato). The wonderful world of children's literature dissemination is a giant amusement park that children yearn for. When children are attracted by it, the muse of literature will smile at the children, hold their hands to relax and enjoy this wonderful game space.

Compared with adults, children are more likely to engage in reading and appreciation. Hillis Miller wrote in Is Literature Dead? Claiming that if you want to read correctly, you have to make yourself a child. Because adults are "demystifying" reading, children are "naive reading". The reason for this is that children's psychological characteristics of not distinguishing between subject and object and not distinguishing between things and me make them "present the external world in their own subjective creation, and constantly make the external world alive and changing." This process shows that children have a strong desire to' participate'. This "childish" and "participatory" is a prominent feature of children's game psychology.

Reading children's songs and listening to stories are the same as playing games. Children's poems and fairy tales full of game spirit can first awaken the muse talent hidden in children's innate structure and let them participate in reading and listening games. With the deepening of children's understanding, people gradually realize that the initial state of childhood is by no means a "whiteboard", but bears rich historical and cultural contents, including the ability to perceive literature inherited from races. We have observed that when reading children's songs with distinct rhythms and rhythms, children often dance and participate in them in a physically harmonious way. As Gardiner said, "A child who listens to music and stories is listening with his own body. He may be fascinated and devoted to listening; He may be shaking his body, or listening, keeping the beat; In other words, these two mentalities appear alternately. But in either case, his reaction to this artistic object is a physical reaction, which may be full of physical feelings. The emphasis on the body here also shows that there are indeed things corresponding to literature hidden in children's bodies. " Linglong Tower, Linglong Tower, the first floor of Linglong Tower ... ","The pawnshop sat on the wall and fell down ... ",these poems used the interesting combination of phonological rules to form a strong rhythm and rhythm, corresponding to children's inherent rhythm needs, effectively activating and awakening children's language instinct and nature, and became JL children again and again. Therefore, the broken encounter between children and children's poems makes children embark on a spontaneous and unconscious road of "exploring their own innate resources"-the dilemma of "this is the game". This game activates and awakens their inner desires, regulates and combs their chaotic feelings, and satisfies their "pleasure or aesthetic desire of body, senses or central parts", so a pleasant aesthetic feeling comes quietly.

Similarly, the question-and-answer form of fairy tales, repeated sentence structures, rhymes and proverbs also have this awakening effect on children's language perception. For example, the dialogue between a wolf disguised as a grandmother and Little Red Riding Hood in the folk story Little Red Riding Hood fully embodies these characteristics. Easy-to-understand oral features conform to children's language perception structure and can stimulate children's language perception ability. "The language of these works often reflects the kindness and serenity of the mother; There is also moderate humor and exaggeration, which is a joke mentality inspired by heartfelt love, which is very consistent with children's desire for games. The reason why children read poems and listen to stories over and over again is to experience the pleasure of meeting this psychological need again.

In addition to "awakening", the characteristics of children's literature appreciation are more manifested in "experience". Kony Hurt's experimental research shows that games are different from exploration. Exploration is controlled by stimulus, and the relationship with the object is "what's the use of this thing", while the game is controlled by the actor himself, and the relationship is characterized by "what can I do with it". This actually answers the fundamental reason why games make children happy. Driven by the psychology of "what can I do with it", personal experience has become an important feature of game activities.

Children's approach to literary works can be said to be the experience of trying to play role games in the text from the perspective of game psychology. According to psychology, experience is a process from inhibition to excitement in the cerebral cortex. This is the psychological process of children reading and appreciating literature. Because of their great curiosity and desire for language and stories, children's imagination fluctuates rapidly, and children seem to have an innate nature. They can easily enter the role and get assumptions. "They can forget themselves best and drive themselves to change into various roles at will." In reading, "I" walked into the work, incarnated into various roles in the work, learned all kinds of unattainable facts in real life, and participated in all kinds of eye-opening explorations. Literature reading opens up the possibility of self, and the narrow life scope of children has been greatly expanded in depth and breadth through stories. They gradually became happy in various participating experiences: feeling nature with Bing Xin's eyes, knowing animals with Sidon's footsteps, looking for their father in the sea with Pinocchio, falling into a rabbit hole with Alice, and playing pranks with Pippi and Carlson. They go to heaven and earth with the Monkey King ... At the same time, they also have various emotional experiences in the inner activities of the characters: they feel the loneliness of Charlotte, cheer for the glory of tom sawyer, whine and hiss for the departure of their mother and Chen Sensen ... The role experience can not only broaden their horizons, but also enrich their emotions, and its deeper connotation is that the psychological energy accumulated by children in the experience is released with the unfolding and ending of the story. This transformation from physical pleasure to spiritual pleasure is exactly the psychological feeling that games and art can bring to people.