According to reception aesthetics, the whole literary activity is a dynamic process consisting of three links: author, works and readers. What the author wrote is only the text, and the text potentially contains many "uncertainties" and "blanks". The determination of their meaning must depend on the reader's reading, who will turn the text into a work. The value of a work is jointly created by the author and the reader, and the reader becomes the most active subject in literary activities. Therefore, works must be completed by readers, and only by readers. This is the theoretical basis of our "entering the text". The new criticism theory originated in Britain in the late 1920s and early 1930s, and developed in the United States in the 1940s, emphasizing the study of specific personal works. They emphasize that text is the source of literary activities and text is the noumenon of literature. Studying literature is to discover the special properties of literature through careful reading of works. Because they emphasize close reading, this kind of criticism is also called close reading criticism. This theory has direct guidance and demonstration significance for reading the text carefully. Therefore, entering the text is to understand and interpret the text with emotion and according to one's own wishes and with one's own unique experience. In the process of interpretation, don't be bound by reference materials, accept others' understanding as the final conclusion, and blindly listen to the opinions of experts and authorities. Instead, we should study the text carefully, think independently and read our own questions and experiences. Only when you have doubts in reading will you go deeper into the text.
There is a saying in "Hometown": "I hope they are no longer like me, and we are separated again ... However, I don't want them to live a hard life because they want to be angry. I don't want them to live a hard life, and I don't want them to live a hard life for others. They should live a new life for things we have never lived. " Who is the "others" here? The Senate thinks this refers to Yang Er's sister-in-law. I found that understanding Yang Er's sister-in-law as a typical "hard and reckless" life is inconsistent with the content of the novel. Reading the text carefully and analyzing the theme of the novel and the real life of Yang Er's sister-in-law, we can see that although Runtu and Yang Er's sister-in-law have their own advantages and disadvantages, they should all be people who live a hard and numb life. Besides, although Yang Er's life is chaotic, as a weak person at the bottom of society, she is greedy for petty gain everywhere for her life. Doing despicable things is a far cry from those who openly rob, oppress and abuse others, indulge in violence and do whatever they want. It is unfair to say that Yang Er's wife is a typical "hard and reckless" life, a generalized and labeled way of thinking, and has not really entered the text.
Listening to the Cold Rain is a classic prose, but in our teaching, it is often superficial and one-sided, and it is only understood as Mr. Yu's homesickness, which is one-sided. I interpret this text from three aspects. One is the feeling of long aftertaste. This article not only misses Chinese mainland's hometown, but also reviews my early life when I first arrived in Taiwan Province. There is a considerable space in the article to compare the life in Taipei now with that before, pointing out that there is nowhere to listen to the rain in Taipei now, and at the same time interspersed with the amorous feelings of hiding in the tricycle tarpaulin with lovers in the rain, recalling or imagining the romance and dripping of the first love in the cold rain. These contents are hard to be summarized by homesickness. The second is to feel deep cultural feelings. After studying the text, it is not difficult to read out that the quotation and application of a large number of classical poems in the text, the love and yearning for listening to the rain described by these poems, and the sigh and sadness for this realm no longer express Mr. Yu's deep affection, praise and attachment to classical culture. The third is the practice of analyzing concepts. Mr. Yu put forward the concept of "modern prose" in the comment on the article "Cut off the Braids of Prose" written by 1963, and pointed out that modern prose is a new type of prose that pays attention to elasticity, density and materiality. The prose "Listening to the Cold Rain" written by 1974 is a successful practice of this concept. Listening to Cold Rain takes the word "rain" as the core, "listening" as the clue and "cold" as the emotional appeal. It lasted for 2000 years, related to homesickness and key culture, and practiced the author's own prose concept. Taking lyrical language as the texture, lingering homesickness as the blood, and profound cultural feelings as the soul, it combines life experience, historical regret, literary feelings, poetic artistic conception and modern prose ideas, contains desolation and desolation, carries the rhythm, rhythm and gas field of modern poetry, and injects it into readers' hearts, vividly showing the elegance and atmosphere of a cultural master.
As teachers, we should believe in ourselves, concentrate on thinking and study deeply. Only when we walk into the text can we read our own findings and feelings, appreciate the subtlety of the text and touch the soul of the text. Then guide students to read excellent texts and achieve the purpose of Chinese reading teaching.
Second, reading should not only enter the text, but also meet people and discuss the world in combination with the specific writing background.
Literary appreciation should go into the text, combine with the specific writing background, and even more "know people and discuss the world". There is a saying in Mencius under Zhang Wan: "If you don't know him, can you praise his poems and read his books?" ? It is based on its world. It means: "recite their poems, study their works, and don't know him, okay?" "So talk about his time." Mencius said of Zhang Wan: "Therefore, a poet does not harm his words or his ambition with his words. This is against your will. " It means: "Therefore, people who interpret poetry should not be confined to words and misunderstand them, nor should they be confined to words and misunderstand the original intention. It is right to guess the author's original intention with his own personal experience. " Read the text carefully, to understand the author's personality, to understand the author's life time and writing background, which requires readers' knowledge and life experience. And all this is more or less a certain distance from the readers. However, students are relatively lacking in knowledge and experience, so knowledge needs to be supplemented and life experience needs to be inspired.
For example, Mr. Jiang Yang's "Lao Wang" ends with: "I went home and looked at the bottle of sesame oil and the unfinished eggs, recalling what Lao Wang said to me over and over again, wondering if he knew that I had received his thanks." he knows, i guess. But somehow, every time I think of Lao Wang, I always feel uneasy. For eating his sesame oil and eggs? Because he came to express his gratitude, but I took money to insult him? Neither. Several years have passed, and I gradually understand that it is the embarrassment of a lucky person to an unfortunate person. How to understand "after several years, I gradually understand that a lucky person is a pity for an unfortunate person"? Professor Sun Shaozhen wrote an article about Lao Wang, pointing out that this kind of "regret" has two characteristics: first, lucky people treat unfortunate people; Second, the regret of the lucky ones for the unfortunate ones did not happen at once, but "gradually understood". In other words, there is a process that the author regrets. At first, it was concern and sympathy for Lao Wang. Later, seeing Lao Wang's sincerity, the author was moved. What shocked me was the care and care for my family on the eve of Lao Wang's death. It is this matter that makes the author gradually understand and feel very ashamed. Professor Sun caught the bull's nose by analyzing the whole story in this way, but to understand it thoroughly, he still needs to contact the "person" and "world" of the author.
When I read this passage for the first time, I couldn't help but think of the last few words in Bai Juyi's "Looking at Wheat Cutting": "What merit did I make today? I have never been engaged in agriculture or mulberry. There are three hundred stones in the land, and there is surplus food at the age of eight. I feel ashamed to see this privately, and I can't forget it every day. " As a county commandant, why did Bai Juyi feel ashamed? Seeing the hardships and pains of farmers in hot summer, the poet thought of himself. Unlike a farmer, he can earn food all the year round, so he is deeply ashamed. This is sympathy for farmers, but also the poet's self-reflection, self-dissection and self-criticism. There is no idea of official standard here, but the conscience and responsibility of intellectuals. Intellectuals are the eyes and conscience of society. I think Mr. Jiang Yang's "Regret" is the discovery, reflection and criticism of intellectuals' conscience. So is Mr Jiang Yang a lucky man? In the unprecedented Cultural Revolution, Jiang Yang and Mr. Qian Zhongshu suffered the same physical, personality and spiritual persecution as contemporary intellectuals, which is rare in the world. First, he was "pulled out" and confessed to cleaning the toilet. He was beaten and fined to shave his "head of yin and yang" and paraded in the streets wearing a high hat. He was sent to the May 7th cadre school for reeducation through labor. Obviously, this is unfortunate. However, it was in this unfortunate life that Mr. Wang found another group of people, including Lao Wang who took care of his family, Lao Tian who helped others, my aunt who publicly protected me, and Grandma Yu who washed clothes for her family and took care of her daughter. In these people, the author sees the beauty of human nature and thinks that he is luckier than them. In fact, he treats them with a pity. The authors, like them, were all unfortunate people in the society at that time, but they were indeed more humble, poorer and helpless than the authors. Pity for them is precisely the expression of morality and responsibility of an intellectual with conscience. Intellectuals should shoulder more social responsibilities. Out of conscience, they should make society more equal and better, but the society at that time was just the opposite. I think this is the deep social reason why Mr. Jiang Yang is "ashamed" of the unfortunate people, and it is the author's "inner noble moral law" that he is ashamed of the present without shirking his responsibility.
Reading this passage at the end of Lao Wang, if we don't "know people and discuss the world", it will be difficult for us to understand, and of course we will not be able to read the text carefully. In fact, this is just an example. We read Lu Xun's essays, Ba Jin's essays, North Island's poems and so on. If you don't "know people and know the world", it is not only difficult to understand, but even misunderstood. Only by grasping the author and the text, combining the author and the text, "knowing people and knowing the world" and entering the text can we truly understand.
Third, literary theory is the key to reading the text carefully, and reading appreciation should be good at using theory correctly.
Literary theory is always instructive for us to read texts. In addition to the criticism of close reading and reception aesthetics mentioned above, other theories, such as our appreciation of the artistic conception of ancient poetry, symbolism of reading modern poetry, the beauty of ugliness, "the multiple roles of the narrator" and the theory of stream of consciousness, have direct guiding significance for us to read the text closely. When we are faced with the text of "There is no way to recover from doubts, and there is another village with a bright future", the proper application of the theory can make us feel suddenly enlightened when we read "Another village with a bright future" carefully.
For example, read Mr Wen Yiduo's Discovery and Dead Water. Reading Discovery, it is easy to perceive the author's strong patriotic feelings. Poets use the technique of expressing ideas directly. I found it hard to understand when I read Dead Water. Can this desperate and dirty ditch write poetry? Poetry is always beautiful, but where is the beauty of still water? Students not only think about beauty, but also think about ugliness, which is the artistic mystery of "taking ugliness as beauty". The theory of "ugliness is beauty" can help students understand that the object of a poem is ugly, but the poet has a peculiar imagination and writes it in Malaysian Miri, Malaysia. On the surface, the more beautiful things are, the uglier the nature of their objects is, which leads us to think seriously and understand the theme and feelings this poem wants to express.
While teaching Zheng Chouyu's mistakes, I found that the poem "Dada's horseshoe is a beautiful mistake" is not easy to understand. However, when commenting on this poem, some people think that this "mistake" is caused by "I", while others think that it is caused by "thinking about women". Let's think so, but judging from the content of the poem, is this "mistake" caused by "I" or "thinking about women" still "beautiful"? I feel that the problem is with me, but I don't know how to read it. Finally, the theory of "multiple roles of the narrator" is used to solve the problem.
Modern narratology thinks that there is a narrator between the author and the text when analyzing novels. The writer does not directly stand up and narrate in his works, but narrates through the narrator. The same is true of poems with narrative elements. In ancient poetry, most of the poems in my heart are first-person narrators, and there are obvious differences between poets and the narrators of poems. For example, Shen Rujun wrote "Forever in My Heart" in the Tang Dynasty: "It is difficult to send a goose, its books are difficult, and it is difficult to worry about many dreams. I would like to follow the lonely moon and follow the camp of Fu Bo. " The poet narrates objectively as a bystander. Some poets think they are homesick women, and directly narrate in a homesick tone, such as Jin Tang Chang Xu's "Spring Complaint": "Drive away the orioles, and the trees are full of their music. When she dreamed that she went to meet him in Liaoxi camp, they woke her up. " Mistake is a modern poem, but the narrator in it is different. This narrator is "I", who plays two roles in the poem, or adopts two perspectives in narration: limited perspective and omniscient perspective. The first sentence "I walked through the south of the Yangtze River" in the poem "Wrong" adopts a limited perspective, the second sentence and the second section adopt an omniscient perspective, and the third section adopts a limited perspective. It is precisely because of the change of perspective that the thinking woman is in the narrator (poet) rather than the "I" perspective. The identity of "I" in the poem was not clear at first. When we finish reading the second section, we will also make a "beautiful mistake" in good faith, which will make the poem full of tension and make the reader have expectation, but the result is beyond the reader's expectation and get an unexpected aesthetic feeling. The application of this technique will make readers feel fresh, have a stronger interest in reading and appreciate beauty more deeply. Therefore, it can be said that the poem Wrong is really unique and wonderful in the use of person and narrative perspective. With a clear narrative perspective and understanding of the transformation of narrative perspective, we can easily understand that this is a helpless fact, which is not caused by anyone's initiative, so it can be said to be "beautiful", perhaps a little sad and poetic, otherwise, poetry will appear frivolous. (See my book "Modern Poetry Full of Classical Images" and "Appreciation of Masterpieces and Middle School Reading",No. 12, 2007)
Reading the text carefully is an inexhaustible topic, and it is also a concrete problem that needs to be solved in our Chinese reading teaching. These are just some of my attempts and experiences. Don't be superficial, please criticize and correct me.