First, the orientation of the college entrance examination is misplaced.
In the college entrance examination, poetry appreciation text is classical poetry, and modern reading text is prose or novel; Composition has the heaviest proportion and is also the most important thing for students, but the requirement that students face is "unlimited style (except poetry)". In addition to a good poem, such a baton can directly kick modern poetry out of the high school Chinese classroom. Some people may say that the choice of modern poetry in textbooks has not made modern poetry disappear in the classroom, but this idea is undoubtedly too "utopia" in reality. Lu Jiuyuan once said, "Don't be too hasty in reading" and "Let go of the unconscious, and swimming is meaningful", but many people must have felt the heavy burden of students' schoolwork, at least they have heard of it. In the process of high school teaching, since students don't take the college entrance examination, how can students devote a lot of energy to their studies? Under the college entrance examination system, how can teachers put down their burdens and teach poetry?
Some people will say that learning modern poetry can't be just for the college entrance examination, but it has an immeasurable and subtle effect on students' learning Chinese and improving their Chinese literacy. This statement is true, but if there is not enough attention, time, study and practice, how much influence can there be left? Modern poetry can improve literacy, and other contents involved in the college entrance examination have the same effect. "Two advantages are the most important and two disadvantages are the least." Faced with this reality, how will students and teachers choose? The answer is self-evident.
Second, the teacher-led dislocation
Classroom is a place for emotional communication between teachers and students, and more often, it is a place for students to accept the guidance of teachers. Without the guidance of teachers, the influence of modern poetry in students' minds has gradually weakened. Specifically, the dislocation of teacher guidance is mainly reflected in the following aspects:
1, the dislocation of modern poetry reading experience
Teachers' reading experience of modern poetry comes from two ways. First, the poetry reading experience gained from the teacher when I was a student; The first is the poetry reading experience gained independently in life or in the teaching process. However, due to the present situation of college entrance examination, teachers don't have much time to study poetry in teaching, so they naturally don't have much experience in reading poetry in this process. Busy and intense work also makes more teachers have no time to reread poems with their own interests. Therefore, the poetry reading experience gained by teachers is actually inherited from their own teachers. This is a simple knowledge transfer without deep processing, personal emotional experience and infiltration of the content of the times. Old knowledge and outdated ideas will make teachers and students fall into the burden of teaching and learning. Although some teachers have also studied the theory of poetry appreciation and have their own personalized reading experience, when he suddenly faces the students, his first thought is to imitate his own teacher. This may be the "pre-scientization" of teaching, and this process is far from the "artistry" of teaching. Such poetry teaching is naturally far from guiding students to produce personalized poetry reading experience.
2. The practice and guidance of poetry writing is inappropriate.
Teaching by example is not as good as teaching by example, and "training" is not as good as "teaching". In poetry teaching, teachers are only the guides of textbook reading (not to mention sometimes there is no guidance at all), but they are not the advocates of poetry reading, and there are very few pioneers of poetry creation. Qu Yuan shouted loudly, "I will guide my husband first", hoping to guide the king of Chu to the right road of governing the country, and the corresponding leading role of teachers in teaching should not be underestimated. "Learning to be excellent is to be an official". Teachers personally write modern poems, share their joys and pains with students in the process of creation, and let them understand the truth that "what you get on paper is shallow, and you never know how to do it". It is undoubtedly one of the best ways to inspire students to read poetry and then guide modern poetry creation by taking their own practical experience as the experience of guiding students to create modern poetry, so that their guidance is more targeted and convincing. But more often, teachers are misplaced in the practice and guidance of modern poetry writing. Without personal experience, there is no deep feeling; Without specific operations, there is no unique experience. This will inevitably lead to superficial lectures and people will follow suit; Guidance is useless.
Third, the loss of aesthetic feeling in poetry.
Beautiful things are intoxicating and accessible. The reason why modern poetry is so embarrassing now is also inseparable from the lack of its own aesthetic feeling.
Poetry itself lacks aesthetic feeling. First of all, modern poetry is increasingly lacking in imagination. Because modern poetry is more free and casual in expressing feelings, scrutinizing and tempering language, and choosing and using poetic images, it loses the norms of ancient poetry, the beauty of artistic conception and the depth of classical poetry, and becomes a simple record of events and a simple catharsis of feelings. Just like Han Han's cynicism about contemporary poets and poems, "the only skill that modern poets need to master is to get into the carriage" and "the poet himself is a little neurotic, and he will become insane if he continues to perform", although this statement is inevitably a bit extreme, it does reflect the problems existing in modern poetry. When poetry loses its imagination and becomes a "running account" and "plain boiled water", naturally, when reading, there is no emotional voice and no epiphany. When the reading pleasure of "However, I feel the harmonious heartbeat of the sacred unicorn" no longer exists, such poems naturally cannot attract students' attention, nor can they arouse their enthusiasm for learning and writing poems.
Moreover, modern poetry lacks a sense of reality. Bai Juyi once said that "articles are written about time, and songs and poems are written for things". When poetry is divorced from life, "hiding in a small building becomes unified, regardless of spring, summer, autumn and winter", such poetry will naturally lose its vitality and the freshness of reality, and become a kind of "moaning without illness", which will naturally be spurned by people.
Secondly, modern poetry teaching lacks aesthetic feeling. This is reflected in the mechanical nature of classroom teaching and the singleness of teaching evaluation.
The current education system and examination proposition mechanism all determine that the current classroom teaching is more "discipline" than "education". Teachers train students' simple skills in a mechanically fixed way, ignoring students' objective individual differences, and training students in a reprimanding tone and admonishing method will inevitably lead to the dissolution of personal interests. Professor Xiao Chuan once said, "Perfect teaching must have two indispensable elements, namely profundity and sincerity", and the so-called profundity means "being able to give students a unique sense of ingenuity and insight and arouse their sense of surprise and imagination"; Perfect teaching should be imaginative in nature, which can arouse people's sense of surprise and surprise and give participants a sense of liberation in cognitive ability. However, in the modern poetry class, due to various reasons, teachers are either vague or vague when teaching poetry, and the connotation, feelings and problems carried by poetry have not been excavated, experienced and understood. In such a classroom environment, students can't feel anything and gain nothing, so Professor Ogawa's idea "let students feel the beauty of human nature, the beauty of human relations and the beauty of human nature;" Feel the beauty of reason, science and wisdom; Feel the profoundness of human mind ... can arouse students' love and gentleness for life; Arouse students' ardent expectations for future life and optimistic, bright and upright expectations; Where will the perfect classroom full of warmth of life come from to look at life with a brand-new eye and gain insight into human physics? Lenin also said: "Without emotional understanding, the depth of understanding will be lost. Only when people's thoughts are infiltrated by strong emotions can they gain strength and attract positive attention, memory and thinking. "
In addition, the single form of examination and evaluation also affects the existence of modern poetry. "Entering the New Curriculum of Senior High School" clearly puts forward "examination ≠ written examination" and "evaluation ≠ examination", but in the evaluation of poetry teaching with the greatest possibility of multiple interpretations, there is still only one point, and the narrowing of evaluation methods and simplification of evaluation results still exist. In addition, some propositions are also mechanical. As Professor Pan Qingyu of Shandong Normal University said, the present proposition lacks imagination. "If the proposition design lacks enough imagination and creativity and only examines the knowledge and skills that can be acquired by memory, training and imitation, there is no need for teachers to make great efforts in teaching." Such an examination will inevitably restrict the generation and expression of students' thinking and imagination to a certain extent. What it wants is not "graffiti". It only needs the standards and norms of answers, and does not need the novelty and beauty of imagination; It wants more "Facebook" answers, and it needs "universality"; Mr. Wang Rongsheng once said that the most valuable thing for a poem to learn is its own artistic beauty, which requires individualized reading and interpretation, and individualized judgment and judgment, all of which have been obliterated in "discipline" and "training". Therefore, it is more urgent to change the traditional evaluation methods in poetry teaching, so that the evaluation can be diversified, dynamic and interactive, reflecting students' mastery and understanding of modern poetry in all directions and through multiple channels, thus promoting and promoting the teaching of modern poetry.
In short, "Rome wasn't built in a day", and the absence of modern poetry in high school teaching is not a day. Only by truly finding the deep reasons can we take active and effective measures to restore modern poetry to the classroom and students.
refer to
Inquiry Classroom was published by Zhou Bin East China Normal University Press, the first edition in April 2007.
The Poetic Life and Professional Growth of Teachers by Xiao Chuan Xinhua Publishing House, the first edition in September 2009.
The writing group of "Walking into the New Curriculum of Senior High School" and "Walking into the New Curriculum of Senior High School" were published by Huazhong Normal University Press, the first edition was 5438+ 10 in June 2004.
On Chinese Curriculum and Teaching, the first edition of Zhejiang Education Press in September, 2003.
"Fundamentals of Chinese Curriculum Theory" by Wang Rongsheng was published by Shanghai Education Press in June, 2003.
Imaginary Classroom Teaching, written by Pan Qingyu, Guangdong Education Press, September 2009, first edition.