论文部分内容阅读
利用作品本身的结构,激发学生的主体审美作用是教师组织阅读教学的关键。《接受美学》本体论认为文学作品的内在结构至少包含以下五个层次: 第一,语音语调层,这是文学作品最外层的结构。它指向特定的意义,与作品所表现的特定意象、情境相联系,还同特定的样式、文体、风格等相联系。要激发学生审美主体的作用,必须以培养学生“阅读文本,感受作品的音律美”的能力为基础。我在教学《琵琶行》一文时,预先朗读,准确把握诗歌本身的音乐节奏,注意停顿.突出重音.根据文意的起承转合,抑扬顿挫地把握感情;范读时,刻意突出诗歌的节奏与旋律以及富于艺术性、音乐性的演奏技巧,传达出作者对琵琶女的深切同情和自哀自怜,使学生受到音乐美、感情美的感染,较快领会了作品的形象美、意境美。
Using the structure of the work itself, stimulating the students’ aesthetic role is the key to teachers’ reading teaching. The ontology of “Receptive Aesthetics” believes that the inner structure of a literary work includes at least the following five levels: First, the tone intonation layer, which is the outermost structure of a literary work. It points to a specific meaning and is linked to the specific images and situations represented by the work, and is also associated with a specific style, style, style, and so on. To stimulate students’ aesthetic role, they must be based on students’ ability to “read the text and feel the rhythm of the work.” When I was teaching the article “Liang Xing,” I read it in advance and accurately grasped the rhythm of the poetry itself. I paid attention to the pause and stress. According to the start and end of the text, I tended to grasp emotions. When I read Fan, I deliberately emphasized the rhythm and melody of poetry. The artistic and musical performance skills conveyed the author’s deep sympathy and self-pity for the prostitutes, and the students were affected by the beauty of the music and emotional beauty, and quickly grasped the image beauty and artistic conception of the works.