论传统的吟诵方法在古诗词教学中的运用
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摘要
吟诵是一种传承了千年的读书方法,凡是读过私塾的人,可能大都有吟诵古诗的体验,可是到了近代,此风渐渐稀薄,学校里只读不吟,再往后,连读也稀松了,出现只讲不读的反常现象,给语文教学带来了极大的祸害。如何把古诗词的美呈现在当代中小学生的面前,如何让中小学生通过学习古诗词得到传统文化的熏陶,让我们的语文老师陷入两难境地:讲多了,古诗词的整体意境被拆解;不讲,又怕学生们难以逾越理解的障碍。怎么教学古诗词,成了一个不大不小的难题。
本文从当前古诗词教学中存在的误区入手,提出在强调深化素质教育的今天,我们应该积极地探索有效的教学方法,可以尝试将吟诵引入到课堂中去,使古诗词教学有所突破,有所创新。本文重点研究了吟诵的理论依据,界定了吟诵的概念,追溯了吟诵的历史变迁,吟诵的要求,对吟诵的内容、方式进行了利弊的分析。探讨了将传统的吟诵方法运用到古诗词教学中的价值:它是教学模式的突破,是不同学科相融性的突破;同时有助于激发学生学习古诗词的兴趣,培养学生的语感,提高学生的审美情趣,增强学生继承中华传统文化的自觉性。在指导教学实践方面,通过对诵读和吟唱两种表现形式的论述,阐述了诵读和吟唱的关系,提出促进吟诵教学有效开展的方法,展示了教学示例。最后对语文教师提出了要求:提高文学素养、转变教学观念、重视师资培训。
本文旨在从理论和实践两个层面上找到将吟诵引入到课堂教学中去的依据,所探讨的是为什么要古为今用的问题,希望通过继承与发扬传统语文教学的经验,使古诗词教学具有有效性。
Poem chanting is one of the study methods that has been passed on for thousands of years. Most people who studied in old-style private school have had the experience of poem chanting. But it became more popular among schools in modern times to adopt poem reading rather than chanting. Later on, schools hardly took poem reading as common practice; instead, they only resorted to analysis. This unusual phenomenon had brought great harm to Chinese teaching.
We Chinese teachers are in a dilemma on how to present the beauty of classical poetry to primary and middle school students of the present generation, and edify them with the traditional culture in the process of learning. That is, the more we analyze, the more the artistic conception of the poems would be disassembled; however, students could scarcely understand them if there is no analysis. It is not a difficult problem to teach classical poetry, though, it takes certain consideration.
Starting with the mistaken ideas on the teaching of classical poetry, the dissertation proposes that, when we put emphasis on the deepening of the quality-oriented education, we should also actively explore some breakthroughs in more effective and creative teaching methods, such as introducing the poem chanting.
Secondly, the dissertation focuses on the theoretical basis of poem chanting, its definition, historical changes and requirements, and serves to analyze the pros and cons of contents and methods.
Moreover, the significance of the application of traditional poem chanting to the teaching of classical poetry is investigated—it is a breakthrough in both the mode of the teaching and the compatibility of different subjects; it also helps to arouse students' interest in classical poetry, develops the sense of the language and their aesthetic appreciation, and improves their consciousness of inheriting the nation's traditional culture.
The essay gives a clear explanation of the relationship between poem chanting and reading, which has guiding significance on Chinese teaching. In addition, various methods of promoting poem chanting in practical teaching, as well as some vivid teaching cases, are presented in the essay.
Finally, the influence of "standard chanting" and such auxiliary means as video, audio, posture, are put forward. It also covers the requirements of being a Chinese teacher, namely, enhancing the literature attainment, updating the conception on teaching, and strengthening the training.
In a word, the dissertation is aimed at finding the theoretical and practical basis of introducing the poem chanting to practical teaching. It is study of the reason of making the past serve the present. And it is hoped that the teaching of classical poetry would be embodied with effectiveness through the succession and development of the traditional experience of Chinese teaching.
本文从当前古诗词教学中存在的误区入手,提出在强调深化素质教育的今天,我们应该积极地探索有效的教学方法,可以尝试将吟诵引入到课堂中去,使古诗词教学有所突破,有所创新。本文重点研究了吟诵的理论依据,界定了吟诵的概念,追溯了吟诵的历史变迁,吟诵的要求,对吟诵的内容、方式进行了利弊的分析。探讨了将传统的吟诵方法运用到古诗词教学中的价值:它是教学模式的突破,是不同学科相融性的突破;同时有助于激发学生学习古诗词的兴趣,培养学生的语感,提高学生的审美情趣,增强学生继承中华传统文化的自觉性。在指导教学实践方面,通过对诵读和吟唱两种表现形式的论述,阐述了诵读和吟唱的关系,提出促进吟诵教学有效开展的方法,展示了教学示例。最后对语文教师提出了要求:提高文学素养、转变教学观念、重视师资培训。
本文旨在从理论和实践两个层面上找到将吟诵引入到课堂教学中去的依据,所探讨的是为什么要古为今用的问题,希望通过继承与发扬传统语文教学的经验,使古诗词教学具有有效性。
Poem chanting is one of the study methods that has been passed on for thousands of years. Most people who studied in old-style private school have had the experience of poem chanting. But it became more popular among schools in modern times to adopt poem reading rather than chanting. Later on, schools hardly took poem reading as common practice; instead, they only resorted to analysis. This unusual phenomenon had brought great harm to Chinese teaching.
We Chinese teachers are in a dilemma on how to present the beauty of classical poetry to primary and middle school students of the present generation, and edify them with the traditional culture in the process of learning. That is, the more we analyze, the more the artistic conception of the poems would be disassembled; however, students could scarcely understand them if there is no analysis. It is not a difficult problem to teach classical poetry, though, it takes certain consideration.
Starting with the mistaken ideas on the teaching of classical poetry, the dissertation proposes that, when we put emphasis on the deepening of the quality-oriented education, we should also actively explore some breakthroughs in more effective and creative teaching methods, such as introducing the poem chanting.
Secondly, the dissertation focuses on the theoretical basis of poem chanting, its definition, historical changes and requirements, and serves to analyze the pros and cons of contents and methods.
Moreover, the significance of the application of traditional poem chanting to the teaching of classical poetry is investigated—it is a breakthrough in both the mode of the teaching and the compatibility of different subjects; it also helps to arouse students' interest in classical poetry, develops the sense of the language and their aesthetic appreciation, and improves their consciousness of inheriting the nation's traditional culture.
The essay gives a clear explanation of the relationship between poem chanting and reading, which has guiding significance on Chinese teaching. In addition, various methods of promoting poem chanting in practical teaching, as well as some vivid teaching cases, are presented in the essay.
Finally, the influence of "standard chanting" and such auxiliary means as video, audio, posture, are put forward. It also covers the requirements of being a Chinese teacher, namely, enhancing the literature attainment, updating the conception on teaching, and strengthening the training.
In a word, the dissertation is aimed at finding the theoretical and practical basis of introducing the poem chanting to practical teaching. It is study of the reason of making the past serve the present. And it is hoped that the teaching of classical poetry would be embodied with effectiveness through the succession and development of the traditional experience of Chinese teaching.
引文
[1]郭沫若为洪深 《戏的念词与诗的朗诵》所作的序,中国戏剧出版社,1962.1.
[2]陈少松.古诗词文吟诵[M].北京:社会科学文献出版社,2002.7-8.
[1]潘丽珠.雅歌清韵-吟诗读文一起来.台北:万卷楼图书有限公司,2001.5-6.
[1]夏丐尊、叶圣陶.文心[M].上海:开明书店,1948.107.
[1]中央教育科学研究所.叶圣陶语文教育论集[M].北京:教育科学出版社,1980.13.
[1]转引自徐佩婴.诵读教学法溯源与重构.内蒙古师范大学硕士学位论文,2004.9.
[1]转引自倪宝元.语言学与语文教育[M].上海:上海教育出版社,1995.111.
[1]吕叔湘.学习语法与训练语感[J].语文学习,1985,(1):54-55.
[2]叶圣陶.叶圣陶论创作·写作漫谈[M].上海:上海文艺出版社,1982.163-164.
[1]张正军.当代语文教学流派概观[M].北京:中国社会科学出版社,2000.45.
[1]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.110.
[1]钱梦龙.文言文教学改革刍议[J].中学语文教学,1997,(4):27.
[2]全国中语会青年教师研究中心.于漪语文教育艺术研究[M].济南:山东教育出版社,1999.82.
[3]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.127.
[1]周庆元.中学语文教学原理[M].长沙:湖南教育出版社,1992.
[2]周庆元.中学语文教材概论[M].长沙:湖南出版社,1994.
[3]周庆元.语文教学设计论[M].南宁:广西教育出版社,1996.
[4]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.
[5]程达.语文学科论[M].长沙:湖南出版社,1998.
[6]张隆华.中国语文教育史纲[M].长沙:湖南师范大学出版社,1991.
[7]中央教育科学研究所.叶圣陶语文教育论集[M].北京:教育科学出版社,1980.
[8]张志公.传统语文教育初探[M].上海:上海教育出版社,1964.
[9]陈少松.古诗词文吟诵[M].北京:社会科学文献出版社,2002.
[10]李海林.言语教学论[M].上海:上海教育出版社,2000.
[11]倪宝元.语言学与语文教育[M].上海:上海教育出版社,1995.
[12]钟为永.语文教育心理学[M].北京:警官教育出版社,1998.
[13]全国中语会青年教师研究中心.于漪语文教育艺术研究[M].济南:山东教育出版社,1999.
[14]张亚新.小学古诗文教学的理论和实践[M].北京:语文出版社,2002.
[15]田纲、祁乃成.学习的生理基础[M].北京:科学技术文献出版社,1992.
[16]周范林.实用记忆方法手册[M].北京:兵器工业出版社,1990.
[17]彭聃龄.语言心理学[M].北京:北京师范大学出版社,1991.
[18]徐汝智.美学与小学语文教学[M].南京:河海大学出版社,1998.
[19]吴琦幸.文化语言新论[M].上海:上海古籍出版社,2003.
[20]谢桃坊.关于古典诗词的吟诵[J].文史杂志,2000(5).
[21]朱佳.关于昆腔谱唱古诗词曲问题[J].北京联合大学学报,2001(12).
[22]钱梦龙.文言文教学改革刍议[M].中学语文教学,1997(4).
[23]钱瑟之.话说“吟诵”[J].常州工业技术学院学报,1998(10).
[24]张国靖.空谷幽兰 艺坛奇葩——介绍吟诵学家陈炳铮[J].学会月刊,2004(7).
[25]朱文君.嗟叹之 咏歌之 舞蹈之——青年教师戴建荣古诗“吟唱”教学法解读[J].小学语文教师,2006(3).
[26]黄澜.浅谈古典诗词的吟诵[J].福建商业高等专科学校学报,2005(4).
[27]刘伟.审美吟诵论[J].论东岳论丛,2003(3).
[28]韩建立.诗歌吟诵与唐代的诗歌写作训练[J].新乡师范高等专科学校学报,2005(11).
[29]羊淇.提倡中华传统诗歌的吟诵[J].常州工业技术学院学报,1996(3).
[30]古源慧.我国古代语文教育是与非[J].中学语文教学,2000(7).
[31]秦德祥.音乐母语教育与诗歌吟诵音乐[J].常州师专学报,2002(1).
[32]廖亚萱.吟诵——诗歌教学最重要的手段[J].厦门教育学院学报,2004(3).
[33]秦德祥.吟诵音乐的节奏形态及其特征[J].音乐艺术,2004(2).
[34]秦德祥.传统吟诵的用谱与传承方式[J].交响——西安音乐学院学报,2003(6).
[35]尹小珂、宋兰萍.浅析“吟诵”及其当代意义[J].文学研究,2006(4).
[36]何郁.且吟且唱学语文[J].教研天地,2005(9).
[37]刘占泉.归来兮,吟诵之教风[J].中学语文教学,2003(4).
[38]杜亚雄.数川汇流处 探索何惧难[J].中国音乐,2003(4).
[39]周庆元、于源溟.诵读法的历时演化与现时解读[J].中国教育学刊,2004(10).
[40]李欢喜.吟诵艺术初探[J].内蒙古艺术,2004(1).
[41]王恩保.吟诵文化漫议[J].中国文化研究,1998(夏).
[42]胡俊林.论中华吟诵文化的发祥起源[J].内江师范学院学报,2006(1).
[43]胡俊林.论中华吟诵文化的发展轨迹[J].内江师范学院学报,2006(5).
[44]潘丽珠.古典诗歌教学之课程设计——以声情教学为主[J].中等教育,2003(12).
[45]李红霞.传统语文教育之再评价[J].山东教育学院学报,2001(6).
[2]陈少松.古诗词文吟诵[M].北京:社会科学文献出版社,2002.7-8.
[1]潘丽珠.雅歌清韵-吟诗读文一起来.台北:万卷楼图书有限公司,2001.5-6.
[1]夏丐尊、叶圣陶.文心[M].上海:开明书店,1948.107.
[1]中央教育科学研究所.叶圣陶语文教育论集[M].北京:教育科学出版社,1980.13.
[1]转引自徐佩婴.诵读教学法溯源与重构.内蒙古师范大学硕士学位论文,2004.9.
[1]转引自倪宝元.语言学与语文教育[M].上海:上海教育出版社,1995.111.
[1]吕叔湘.学习语法与训练语感[J].语文学习,1985,(1):54-55.
[2]叶圣陶.叶圣陶论创作·写作漫谈[M].上海:上海文艺出版社,1982.163-164.
[1]张正军.当代语文教学流派概观[M].北京:中国社会科学出版社,2000.45.
[1]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.110.
[1]钱梦龙.文言文教学改革刍议[J].中学语文教学,1997,(4):27.
[2]全国中语会青年教师研究中心.于漪语文教育艺术研究[M].济南:山东教育出版社,1999.82.
[3]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.127.
[1]周庆元.中学语文教学原理[M].长沙:湖南教育出版社,1992.
[2]周庆元.中学语文教材概论[M].长沙:湖南出版社,1994.
[3]周庆元.语文教学设计论[M].南宁:广西教育出版社,1996.
[4]周庆元.中学语文教育心理研究[M].长沙:湖南师范大学出版社,1999.
[5]程达.语文学科论[M].长沙:湖南出版社,1998.
[6]张隆华.中国语文教育史纲[M].长沙:湖南师范大学出版社,1991.
[7]中央教育科学研究所.叶圣陶语文教育论集[M].北京:教育科学出版社,1980.
[8]张志公.传统语文教育初探[M].上海:上海教育出版社,1964.
[9]陈少松.古诗词文吟诵[M].北京:社会科学文献出版社,2002.
[10]李海林.言语教学论[M].上海:上海教育出版社,2000.
[11]倪宝元.语言学与语文教育[M].上海:上海教育出版社,1995.
[12]钟为永.语文教育心理学[M].北京:警官教育出版社,1998.
[13]全国中语会青年教师研究中心.于漪语文教育艺术研究[M].济南:山东教育出版社,1999.
[14]张亚新.小学古诗文教学的理论和实践[M].北京:语文出版社,2002.
[15]田纲、祁乃成.学习的生理基础[M].北京:科学技术文献出版社,1992.
[16]周范林.实用记忆方法手册[M].北京:兵器工业出版社,1990.
[17]彭聃龄.语言心理学[M].北京:北京师范大学出版社,1991.
[18]徐汝智.美学与小学语文教学[M].南京:河海大学出版社,1998.
[19]吴琦幸.文化语言新论[M].上海:上海古籍出版社,2003.
[20]谢桃坊.关于古典诗词的吟诵[J].文史杂志,2000(5).
[21]朱佳.关于昆腔谱唱古诗词曲问题[J].北京联合大学学报,2001(12).
[22]钱梦龙.文言文教学改革刍议[M].中学语文教学,1997(4).
[23]钱瑟之.话说“吟诵”[J].常州工业技术学院学报,1998(10).
[24]张国靖.空谷幽兰 艺坛奇葩——介绍吟诵学家陈炳铮[J].学会月刊,2004(7).
[25]朱文君.嗟叹之 咏歌之 舞蹈之——青年教师戴建荣古诗“吟唱”教学法解读[J].小学语文教师,2006(3).
[26]黄澜.浅谈古典诗词的吟诵[J].福建商业高等专科学校学报,2005(4).
[27]刘伟.审美吟诵论[J].论东岳论丛,2003(3).
[28]韩建立.诗歌吟诵与唐代的诗歌写作训练[J].新乡师范高等专科学校学报,2005(11).
[29]羊淇.提倡中华传统诗歌的吟诵[J].常州工业技术学院学报,1996(3).
[30]古源慧.我国古代语文教育是与非[J].中学语文教学,2000(7).
[31]秦德祥.音乐母语教育与诗歌吟诵音乐[J].常州师专学报,2002(1).
[32]廖亚萱.吟诵——诗歌教学最重要的手段[J].厦门教育学院学报,2004(3).
[33]秦德祥.吟诵音乐的节奏形态及其特征[J].音乐艺术,2004(2).
[34]秦德祥.传统吟诵的用谱与传承方式[J].交响——西安音乐学院学报,2003(6).
[35]尹小珂、宋兰萍.浅析“吟诵”及其当代意义[J].文学研究,2006(4).
[36]何郁.且吟且唱学语文[J].教研天地,2005(9).
[37]刘占泉.归来兮,吟诵之教风[J].中学语文教学,2003(4).
[38]杜亚雄.数川汇流处 探索何惧难[J].中国音乐,2003(4).
[39]周庆元、于源溟.诵读法的历时演化与现时解读[J].中国教育学刊,2004(10).
[40]李欢喜.吟诵艺术初探[J].内蒙古艺术,2004(1).
[41]王恩保.吟诵文化漫议[J].中国文化研究,1998(夏).
[42]胡俊林.论中华吟诵文化的发祥起源[J].内江师范学院学报,2006(1).
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