Reflection on the teaching of carving the sword
Part 1: Reflection on the teaching of the sword
The "Carving for the Sword" that I have taught is a classical Chinese text in the eighth unit of the Northern Division. In the design, each link is very compact, shallow and deep, progressive, active classroom atmosphere, high enthusiasm for student participation, active speech, truly participate in the classroom, become the "master" of the classroom and the teacher Exploring and embodying the abstract theory to make it understand the truth.
Throughout the teaching process, I have created a relaxed and equal teaching atmosphere for students, bringing “smiles into the classroom”, bringing motivation into the classroom, setting levels, fully mobilizing the enthusiasm of students to participate, and letting students experience success. The happiness of the students arouses the interest of the students. It also teaches students how to learn classical Chinese. Read the translation first, perceive the content of the story, then understand the meaning of the key words in combination with the translation, and then try to understand the meaning of the sentence until the whole story is connected. Read more and talk less, carefully organize student guidance to reach the standard. For me, I will continue my reading training throughout, first reading is correct and fluent; intensive reading, focusing on the experience; familiar reading, and seeking emotional in place. When reading, teach the skills of reading, and finally achieve emotional reading.
Teaching is the art of regret. There are still some shortcomings in my class. The requirements in the “Fourth Level – Story-telling Oral Adaptation of Classical Chinese” are very easy for students in the fifth grade. They should be difficult to understand and think about it. Students can continue to compile the end of the story or compose the fables into small pieces according to their own understanding, let the students insert the wings of imagination, and make the students' thinking fly higher and farther. Also, the time in the teaching is not very good, the front is loose, and the back is tight, which makes the expansion link flow in form.
I believe that under the guidance of the new curriculum concept, under the guidance of the teachers, under the guidance of the experts, we and the children will certainly innovate in development and develop in innovation.
Chapter 2: Reflections on the Teaching of Swords and Seeking Swords
The text "Carving for the Sword" is a fable story, and the textbook appears in the form of classical Chinese. Therefore, when teaching this text, I should first guide students to understand the meaning of the ancient text. I asked the students to try to understand them without using the translation. If there is any sentence that does not understand, then refer to the translation. Immediately after listening to the children, the children shook the translation below and carefully thought about it. From time to time, individual children read the translation without secretly reading the translation. After giving the students self-reading self-realization time, I asked the students to fully describe the whole fable story, and most of the children can express it more specifically.
Then I picked out the words that were difficult to understand in the text and challenged the children. They explained them at once. I asked the children to read the text with a pause, affection, and taste. Some of the children still took books and shook their heads and read them. Looking at their seriousness, I couldn't help but laugh.
After understanding the meaning of classical Chinese, the meaning of the story is also profound. From the children, the story is understood to satirize those who are stupid and do not know how to be flexible. Many children say that they must not be such a person in the future.
In the end, I used the interesting scene in which the man could not get the sword to fill the gap in the mind of the child. I asked the students to discuss: After the ship came ashore, how did the man jump off the river to fish the sword? How to fish? What would he think when he didn't get it, what to say, what to do? This filling not only trains the image of the students' thinking, but also deepens the students' understanding of the meaning of the text, and also trains the expressive ability.
What I regret about this class is that a student has proposed: If this person really jumps into the river after falling off the sword, can he really get the sword? This is a good point of production in the classroom, but since the class time is coming, I can only rush to end, let the students discuss after class. I think the next lesson will make time for everyone to talk freely, let the children's unique thinking continue to collide with the strange sparks!
Chapter 3: Rethinking the Teaching of Swords and Seeking Swords
1. Highlight the characteristics of reading and speaking in teaching. Classical Chinese, like modern Chinese, must adhere to reading as the main focus and focus on sentiment, especially in the text. It is not difficult to learn from the target students. In teaching, I have practiced reading aloud throughout. The first reading is correct and fluent, the intensive reading is focused on the experience, and the reading is to find the feelings in place. In the key words and phrases, read carefully, and teach the reading skills, and finally reach the emotional reading and memorization.
2. Teach students how to learn classical Chinese. In teaching, I first let students solve the problem of accurately reading classical Chinese through pre-study and listening to the teacher's extensive reading, and then use the translation and reference books to understand the meaning of the key words in the text, and then try to understand the meaning of the sentence. Finally, try to connect the whole story. A smooth passage.
3. I think that when teaching fables, there will always be such a problem: when students can tell the content of the fable story and tell the truth in the story, the teacher will think that they have understood very well, but combined with the actual life. Distance, when talking about feelings, is often so far-fetched. They are not the fables of not understanding the story, but because they have too few life experiences, and it is difficult to properly express the corresponding examples.
In the whole teaching process, try to create a relaxed, equal, harmonious and stimulating teaching atmosphere, so that the incentives can be brought into the classroom, and the motivational language can be used to let the students experience the happiness of success and arouse the students' interest.
Part 4: Rethinking the teaching of the sword
At the beginning of the class, the introduction of the competition into the classroom greatly mobilized the students' enthusiasm for learning. After reading the text, I showed a large map, brought the students into the specific context of the text, and then let the children read the questions and began to learn in the interest. In the implementation of the teaching, the random demonstration of the movement, coupled with a simple graphic style board, so that students have an interesting understanding of the difficult points of the text. At the end of the class, the students' attention tends to be scattered. At this time, the design of the sequel to the end of the story and the performance of the talks, once again stimulated the interest of students to learn, so that children actively participate in learning from beginning to end.
Before reading the lecture, the teacher asked the students to self-read questions, group discussions, and mutual help answers, prompting students to study hard, actively think, actively explore, and publish independent and creative insights in group discussions, and fully communicate between students. When the students still do not understand, they ask the teacher questions and insert the camera during the teaching process. In this way, learning to teach is the most powerful proof that fully reflects the participation of students. The story of continuous narration and performance persuasion not only expands the face of language training, but also increases the intensity of thinking training and the enlightenment of dialectical materialism. Education naturally penetrates.
In the teaching, the teacher runs the reading training throughout. The first reading is correct and fluent, the intensive reading is focused on the experience, and the reading is to find the feelings in place. In the key words and phrases, read carefully, and teach the reading skills, and finally reach the emotional reading and memorization. This has turned "full house irrigation" into a large-scale, solid reading activity for students. ”
On the basis of fully reading a good book, he also carefully designed the training of words and phrases, teaching the new life, and demonstrating the language training standard of “perceived understanding – taste appreciation – accumulation and application”. For example, if the first natural section of the teaching is closely related to “inadvertently”, first change the word to understand the meaning of the word, then imagine to expand the thinking, train the language expression, and deepen the understanding. The second natural section of teaching teaches students to participate in learning through listening, arranging, reading, thinking, and speaking, and tastes the vividness and accuracy of the words "a little bit" and "ship". The third part of the teaching is to speak through sentences, to understand the feedback of the sentence, and then to read the lecture, to experience the strong feelings expressed by the rhetorical questions, and to cultivate a sense of language. The fourth natural section teaching, on the map to carry out the dynamic demonstration, static and dynamic, let the students turn the abstract reasoning thinking process into the image of the intuitive judgment thinking process, thus successfully breaking through the difficulties. The final sequel to the end of the story and persuasion to talk design, organically integrated ideological education into language training.
Chapter 5: Reflections on the Teaching of Swords and Seeking Swords
According to the writing intention, the author often screens and extracts the materials that can best express the center of the article, and summarizes some minor scenes in one sentence, leaving blanks for the reader to fill the image. In this regard. Teachers should be good at using the blanks in the texts, designing questions to guide students to fill, making the content of the text more vivid and more vivid, and the image printed in the students' minds is more profound and the memory is stronger.
For example, in the last natural section of "The Sword of the Sword", the man who lost the sword said that he would wait for the ship to land. He would jump from the river to the sword on the side of the ship. He will definitely jump off the river to catch the sword after the boat* shore. Using the interesting scene of the person who can't get the sword in the student's mind, the image can be designed and written in the teaching: 1 boat * shore, how does that person jump off the river to go fishing? How to fish? 2 How did he not find the sword? What will I do? Say something? 3 What kind of look, behavior, and discussion will be seen by people who watch his sword on the shore? This filling not only trains the image of the students' thinking, but also deepens the students' understanding of the meaning of the text, and also trains the expressive ability.
The "Carving for the Sword" that I have taught is a classical Chinese text in the eighth unit of the Northern Division. In the design, each link is very compact, shallow and deep, progressive, active classroom atmosphere, high enthusiasm for student participation, active speech, truly participate in the classroom, become the "master" of the classroom and the teacher Exploring and embodying the abstract theory to make it understand the truth.
Throughout the teaching process, I have created a relaxed and equal teaching atmosphere for students, bringing “smiles into the classroom”, bringing motivation into the classroom, setting levels, fully mobilizing the enthusiasm of students to participate, and letting students experience success. The happiness of the students arouses the interest of the students. It also teaches students how to learn classical Chinese. Read the translation first, perceive the content of the story, then understand the meaning of the key words in combination with the translation, and then try to understand the meaning of the sentence until the whole story is connected. Read more and talk less, carefully organize student guidance to reach the standard. For me, I will continue my reading training throughout, first reading is correct and fluent; intensive reading, focusing on the experience; familiar reading, and seeking emotional in place. When reading, teach the skills of reading, and finally achieve emotional reading.
Teaching is the art of regret. There are still some shortcomings in my class. The requirements in the “Fourth Level – Story-telling Oral Adaptation of Classical Chinese” are very easy for students in the fifth grade. They should be difficult to understand and think about it. Students can continue to compile the end of the story or compose the fables into small pieces according to their own understanding, let the students insert the wings of imagination, and make the students' thinking fly higher and farther. Also, the time in the teaching is not very good, the front is loose, and the back is tight, which makes the expansion link flow in form.
I believe that under the guidance of the new curriculum concept, under the guidance of the teachers, under the guidance of the experts, we and the children will certainly innovate in development and develop in innovation.
Chapter 2: Reflections on the Teaching of Swords and Seeking Swords
The text "Carving for the Sword" is a fable story, and the textbook appears in the form of classical Chinese. Therefore, when teaching this text, I should first guide students to understand the meaning of the ancient text. I asked the students to try to understand them without using the translation. If there is any sentence that does not understand, then refer to the translation. Immediately after listening to the children, the children shook the translation below and carefully thought about it. From time to time, individual children read the translation without secretly reading the translation. After giving the students self-reading self-realization time, I asked the students to fully describe the whole fable story, and most of the children can express it more specifically.
Then I picked out the words that were difficult to understand in the text and challenged the children. They explained them at once. I asked the children to read the text with a pause, affection, and taste. Some of the children still took books and shook their heads and read them. Looking at their seriousness, I couldn't help but laugh.
After understanding the meaning of classical Chinese, the meaning of the story is also profound. From the children, the story is understood to satirize those who are stupid and do not know how to be flexible. Many children say that they must not be such a person in the future.
In the end, I used the interesting scene in which the man could not get the sword to fill the gap in the mind of the child. I asked the students to discuss: After the ship came ashore, how did the man jump off the river to fish the sword? How to fish? What would he think when he didn't get it, what to say, what to do? This filling not only trains the image of the students' thinking, but also deepens the students' understanding of the meaning of the text, and also trains the expressive ability.
What I regret about this class is that a student has proposed: If this person really jumps into the river after falling off the sword, can he really get the sword? This is a good point of production in the classroom, but since the class time is coming, I can only rush to end, let the students discuss after class. I think the next lesson will make time for everyone to talk freely, let the children's unique thinking continue to collide with the strange sparks!
Chapter 3: Rethinking the Teaching of Swords and Seeking Swords
1. Highlight the characteristics of reading and speaking in teaching. Classical Chinese, like modern Chinese, must adhere to reading as the main focus and focus on sentiment, especially in the text. It is not difficult to learn from the target students. In teaching, I have practiced reading aloud throughout. The first reading is correct and fluent, the intensive reading is focused on the experience, and the reading is to find the feelings in place. In the key words and phrases, read carefully, and teach the reading skills, and finally reach the emotional reading and memorization.
2. Teach students how to learn classical Chinese. In teaching, I first let students solve the problem of accurately reading classical Chinese through pre-study and listening to the teacher's extensive reading, and then use the translation and reference books to understand the meaning of the key words in the text, and then try to understand the meaning of the sentence. Finally, try to connect the whole story. A smooth passage.
3. I think that when teaching fables, there will always be such a problem: when students can tell the content of the fable story and tell the truth in the story, the teacher will think that they have understood very well, but combined with the actual life. Distance, when talking about feelings, is often so far-fetched. They are not the fables of not understanding the story, but because they have too few life experiences, and it is difficult to properly express the corresponding examples.
In the whole teaching process, try to create a relaxed, equal, harmonious and stimulating teaching atmosphere, so that the incentives can be brought into the classroom, and the motivational language can be used to let the students experience the happiness of success and arouse the students' interest.
Part 4: Rethinking the teaching of the sword
At the beginning of the class, the introduction of the competition into the classroom greatly mobilized the students' enthusiasm for learning. After reading the text, I showed a large map, brought the students into the specific context of the text, and then let the children read the questions and began to learn in the interest. In the implementation of the teaching, the random demonstration of the movement, coupled with a simple graphic style board, so that students have an interesting understanding of the difficult points of the text. At the end of the class, the students' attention tends to be scattered. At this time, the design of the sequel to the end of the story and the performance of the talks, once again stimulated the interest of students to learn, so that children actively participate in learning from beginning to end.
Before reading the lecture, the teacher asked the students to self-read questions, group discussions, and mutual help answers, prompting students to study hard, actively think, actively explore, and publish independent and creative insights in group discussions, and fully communicate between students. When the students still do not understand, they ask the teacher questions and insert the camera during the teaching process. In this way, learning to teach is the most powerful proof that fully reflects the participation of students. The story of continuous narration and performance persuasion not only expands the face of language training, but also increases the intensity of thinking training and the enlightenment of dialectical materialism. Education naturally penetrates.
In the teaching, the teacher runs the reading training throughout. The first reading is correct and fluent, the intensive reading is focused on the experience, and the reading is to find the feelings in place. In the key words and phrases, read carefully, and teach the reading skills, and finally reach the emotional reading and memorization. This has turned "full house irrigation" into a large-scale, solid reading activity for students. ”
On the basis of fully reading a good book, he also carefully designed the training of words and phrases, teaching the new life, and demonstrating the language training standard of “perceived understanding – taste appreciation – accumulation and application”. For example, if the first natural section of the teaching is closely related to “inadvertently”, first change the word to understand the meaning of the word, then imagine to expand the thinking, train the language expression, and deepen the understanding. The second natural section of teaching teaches students to participate in learning through listening, arranging, reading, thinking, and speaking, and tastes the vividness and accuracy of the words "a little bit" and "ship". The third part of the teaching is to speak through sentences, to understand the feedback of the sentence, and then to read the lecture, to experience the strong feelings expressed by the rhetorical questions, and to cultivate a sense of language. The fourth natural section teaching, on the map to carry out the dynamic demonstration, static and dynamic, let the students turn the abstract reasoning thinking process into the image of the intuitive judgment thinking process, thus successfully breaking through the difficulties. The final sequel to the end of the story and persuasion to talk design, organically integrated ideological education into language training.
Chapter 5: Reflections on the Teaching of Swords and Seeking Swords
According to the writing intention, the author often screens and extracts the materials that can best express the center of the article, and summarizes some minor scenes in one sentence, leaving blanks for the reader to fill the image. In this regard. Teachers should be good at using the blanks in the texts, designing questions to guide students to fill, making the content of the text more vivid and more vivid, and the image printed in the students' minds is more profound and the memory is stronger.
For example, in the last natural section of "The Sword of the Sword", the man who lost the sword said that he would wait for the ship to land. He would jump from the river to the sword on the side of the ship. He will definitely jump off the river to catch the sword after the boat* shore. Using the interesting scene of the person who can't get the sword in the student's mind, the image can be designed and written in the teaching: 1 boat * shore, how does that person jump off the river to go fishing? How to fish? 2 How did he not find the sword? What will I do? Say something? 3 What kind of look, behavior, and discussion will be seen by people who watch his sword on the shore? This filling not only trains the image of the students' thinking, but also deepens the students' understanding of the meaning of the text, and also trains the expressive ability.
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