Unexpectedly, a few minutes later, Teacher Jeff replied to me: You have piled up so many things in one class, which is of course "too thick to melt". I was both surprised and surprised. Teacher Jeff is the pioneer of Exquisite Chinese. He has deep research in teaching famous books. He can take the time to look at my teaching design and point out the problems for me. He couldn't help being very excited. I quickly replied: Thank you xu teacher for your advice! My pleasure! Xu teacher replied again: Almost, it's hard to hear harsh words now. Xu teacher's comments were both direct and sharp, which made me blush and my heart beat, and made me seriously reflect. How many "too powerful to be dispelled" phenomena in today's Chinese classroom need our own efforts to correct.
? First, the classroom content is greedy for perfection, squeezing the learning space. Many teachers have designed too much classroom content, and pursued the "Gao Daquan" class, which covers all aspects, leaving students with limited time and space to study. What teachers pursue is to complete the teaching tasks in the classroom. How is the student's study and what is the effect? This is a question mark. The teacher himself hasn't thought deeply about this problem.
Just like my text reading class, my teaching goal is to guide students to understand the author's rich emotions in unforgettable prose. I gave students three reading grips: grasping typical events and understanding deep emotions; Master evaluative language and understand deep feelings; Grasping dual perspectives and enriching emotions; In order to teach all three methods to students, I integrated them into a multi-text reading class. In fact, I also think that one of the two perspectives of prose is enough to learn a lesson, so that students can really understand and learn thoroughly. But in order to be greedy, I want to give all three methods to students, and the capacity of the classroom has increased. Due to the increase of classroom density, the pace of the classroom has to be accelerated, and the time for students to study in the classroom is relatively hasty. Sometimes in classroom design, we are always afraid that the content of the classroom is too thin and the content taught to students is not rich enough, so it will overlap constantly. As a result, the classroom content is jumbled, which leads to the phenomenon of "piling up" and students' "indigestion". This requires our teachers to boldly simplify the complex and grasp the main problems in teaching design. Especially when preparing lessons, we should have a student's position, grasp the learning situation, and ask questions from the classroom, which cannot be taken for granted.
Second, the content of the courseware is complex and diverse, and students are overwhelmed.
Many teachers still don't understand the word "auxiliary" in ppt-assisted teaching. The first phenomenon is that there are too many ppt, and the classroom has become a display of ppt. There are more than 40 ppt in a Chinese class. What is this concept? In other words, a 40-minute Chinese class takes less than one minute to make a ppt on average, so where is the study time of the whole class? Where did you get the time to think? The whole class is the process in which the teacher plays ppt and the students watch ppt. The whole class was kidnapped by ppt. I once discussed with the teacher that a class should not exceed 20 ppt, and the less the better. When Mr. Dong Pei was teaching Laoshan Street, the whole class only used one ppt, which was the illustration of "Climbing a Mountain on a Starry Night" by Red Army soldiers, leaving enough time for students to read, understand, think and analyze. Classroom must be a learning process for students. Under the guidance of teachers, listening, speaking, reading and writing abilities have been strengthened and improved to some extent. The second phenomenon, the content of ppt is the display of answers. Ppt is set to animation. First of all, asking questions is to make students think, which seems to encourage students' divergent thinking. Then, the teacher gives the correct answers and asks the students to read aloud and annotate the books. Students review and recite the answers before the exam, and set the answers during the exam. When learning classical Chinese, students' books are annotated as dense places, and students' little hands are too tired to lift a class, so they break their wrists to solve difficulties. In this way, it is not uncommon for students to "die from teaching" and "die from learning". "Curriculum Standards" says: Appreciate literary works, have your own emotional experience, and initially understand the connotation of the works. I can talk about my own experience about the touching situations and images in my works. However, our teaching dare not cross the line, because we are "kidnapped" by the standard answer. Once the students' understanding deviates from the standard answer, the exam is naturally not scored. Therefore, many teachers have come up with the idea of wandering between standard answers and personal experiences. They can talk about their own emotional experiences, but in the end they still have to recite standard answers. This phenomenon is mostly when teaching ancient poetry. Therefore, it is still a long way to go to cultivate students' ability to appreciate literary works. We need teachers to cultivate bit by bit and persistently in class.
Third, the classroom model is solidified and lacks elastic tension.
? For young teachers who have just joined the job, it is necessary to learn a standardized classroom model, because young teachers' classrooms are often casual and lack discipline. However, for mature teachers, sticking to one model all the year round is too rigid, which makes the class look the same, lacks personality characteristics, and lacks the tension of thinking in the classroom, which has become a rigid look of a thousand lessons. Listening to classical Chinese, you can guess how he taught it step by step, which is generally "reading aloud-translating-appreciating-summarizing". Fiction teaching is generally "managing the plot-analyzing the characters-understanding the theme-studying the writing method"; Learning narrative is "overall perception-cooperation and communication-strengthening guidance-summing up"; Learning expository writing means "grasping characteristics-understanding methods-managing order-appreciating language". Why do teachers insist on their own teaching mode and are unwilling to change it? First of all, preparing lessons in this way saves time and effort. Teachers don't need to chew the text deeply. By putting the text in such a routine, the teaching framework of a lesson will come out, especially experienced teachers, who have very little time to prepare lessons. Secondly, it is difficult to break the inherent pattern. When a teacher's classroom model is solidified, it is difficult for him to break through himself. This requires teachers to take the initiative to take root in text learning, teaching art and teaching theory, and work hard to practice, so as to break free from the shackles of the framework and reach a higher level of classroom teaching, which is the so-called breakthrough bottleneck. Teacher Jeff tortured him for more than a year for a wonderful teaching design, which shows the deep efforts behind him. If you want to be like Huang Houjiang and George W. Dong Pei, the classroom is flowing and natural, it must be the teacher himself who constantly breaks the limitations and sublimates himself in classroom teaching!
Our teaching can't form a "heap" of quantity. In order to explore its internal logic, we need to "slim down" the classroom, design the main problems that will make students "connect up and down, and everything will be smooth", ignite students' thinking and guide them to reach the depth of the text step by step. Our classroom should not be "too strong to melt away", but should "learn deeper"