人教版高中语文教材中国古代叙事作品及教学策略研究
发布时间：2018-11-11 14:45
【摘要】：新课改推行以来,现行人教版高中语文教材编选的中国古代叙事作品篇目约占教材选文1/6,这部分选文的课堂教学也成为高中语文教学的重点。论文尝试以中外叙事理论为主要研究方法,并结合运用教育学、心理学的相关知识对人教版高中语文教材中的中国古代叙事作品进行系统的分析和探讨。论文共分为三章。第一章按照文体不同将教材中的中国古代叙事作品分为古代叙事诗、史传文学、古代戏曲和古代小说四类,并分别分析四类叙事作品的内容。古代叙事诗《氓》、《孔雀东南飞》、《琵琶行并序》等作品刻画了氓的妻子、刘兰芝、弹琵琶歌女等女性形象,表达了作者对女性命运的关注。史传文学分别节选自《左传》、《战国策》、《史记》、《汉书》等史书,生动地塑造了烛之武、荆轲、刘邦、苏武等历史人物形象,褒扬了这些贤人志士和英雄人物。古代戏曲有两篇,《窦娥冤》选了原剧的楔子和前三折,刻画了平民女子窦娥善良又富有反抗精神的性格;《游园》节选自《牡丹亭》第十回《惊梦》,塑造了大家闺秀杜丽娘貌美多情、勇于冲破封建礼教束缚的叛逆者形象。古代小说作品分别选自我国四大名著和《聊斋志异》、三言、《儒林外史》等,塑造了曹操、林冲、红孩儿、林黛玉、香玉、玉堂春等形形色色的人物形象,这些形象都有鲜明的性格特点。第二章主要从叙事学的角度研究了高中语文教材中这些叙事作品的叙事艺术。本章在分析时从叙述者、叙述视角、叙述时间和人物类型出发,阐述了这些作品的叙事特点,并辅以教材中的实例来说明这些特点。显在叙述者叙事常出现在《林黛玉进贾府》、《玉堂春》等小说中,戏曲《窦娥冤》则属于隐在叙述者的叙述。全知视角叙事较多出现在史传文学中,《窦娥冤》、《氓》、《大铁椎传》等作品中使用了限知视角叙事,《长恨歌》、《林黛玉进贾府》则综合运用了全知视角和限知视角。《苏武传》、《荆轲刺秦王》中综合运用了省略、概略、场景、减缓、停顿等多种叙事时距;这些叙事作品在叙述次序上以顺时序为主兼有逆时序,且在叙述频率上多见叙述语言和故事内容的重复;中国古代叙事作品中的扁平人物有氓、杨贵妃、李逵等,圆型人物有曹操、林黛玉、宋江等。第三章在前两章研究的基础上,把研究成果运用到高中语文实际教学中去,从新课标的标准和要求出发,针对不同叙事作品特点提出合理可行的教学策略。这些策略有抓住作品故事性教学策略、融情于事的教学策略、把握叙事节奏教学策略、从叙事视角展开教学的策略等等。这些教学策略能够完善关于教材中中国古代叙事作品的教学理论,改善现行高中语文课堂教学方法,提高课堂效率。
[Abstract]:Since the implementation of the new curriculum reform, the contents of the Chinese ancient narrative works compiled and selected in the current edition of senior high school Chinese textbooks account for about 1 / 6 of the selected texts, and the classroom teaching of this part of the selected texts has also become the focus of high school Chinese teaching. This paper attempts to take the Chinese and foreign narrative theory as the main research method, and combines the relevant knowledge of pedagogy and psychology to systematically analyze and discuss the ancient Chinese narrative works in the high school Chinese teaching materials. The thesis is divided into three chapters. The first chapter divides the ancient Chinese narrative works into four categories according to their stylistic differences: ancient narrative poetry, historical literature, ancient opera and ancient novels, and analyze the contents of the four kinds of narrative works. Ancient narrative poems, such as "the mob", "the Peacock flying southeast" and "the preface of the pipa", depict the female images of the mob, Liu Lanzhi and the girl playing the pipa song, and express the author's concern about the fate of the woman. Selected from Zuo Zhuan, Zhanguo Policy, Records of History, Han Shu and other historical books, they vividly shaped the images of historical figures such as candlelight, Jing Ke, Liu Bang, Su Wu, and praised these sages and heroes. There are two ancient dramas, "Dou E injustice" selected the wedge of the original play and the first 70% discount, depicting the civilian woman Dou E's kind and rebellious character; Excerpts from Peony Pavilion, the 10th Dream of shock, portray du Li-niang, the best girl of her family, as a beautiful and affectionate rebel who dares to break through the shackles of feudal ethics. The ancient novels were selected from four famous works in China and Liaozhai Zhi Yi, three words, A History of Confucianism, and so on, which created the images of Cao, Lin Chong, Red Child, Lin Daiyu, Xiangyu, Yutang Chun, and so on. These images all have distinct character characteristics. The second chapter mainly studies the narrative art of these narrative works in senior high school Chinese teaching materials from the perspective of narratology. In this chapter, from the perspective of narrator, narrative angle, narrative time and character type, this chapter expounds the narrative characteristics of these works, and explains these characteristics with examples in the textbook. The narrator's narration often appears in the novels such as Lin Daiyu's entering the Jia House and Yutang Chun, while the drama Dou'e 's injustice belongs to the narrator's narration. The narrative of omniscient perspective is more common in historical biographical literature, such as Dou'e injustice, mob >, Da tie Li Zhuan and other works, which use the perspective of limited knowledge to narrate, "Song of Eternal resentment", etc. "Lin Daiyu's entering into Jia's House" is a comprehensive use of omniscience and limited knowledge. In "Su Wu Zhuan", "Jing Ke prick the King of Qin", various narrative time intervals, such as ellipsis, outline, scene, slowing down, pause and so on, are used synthetically. The sequence of narration is mainly in the order of narration, and the repetition of the narrative language and the content of the story is often seen in the narrative frequency. In ancient Chinese narrative works, the flat characters are the mob, Yang Guifei, Li Kui, and the round characters such as Cao, Lin Daiyu, Song Jiang and so on. On the basis of the first two chapters, the third chapter applies the research results to the practical teaching of Chinese in senior high school, starting from the standards and requirements of the new curriculum standard, puts forward reasonable and feasible teaching strategies according to the characteristics of different narrative works. These strategies include grasping the teaching strategy of the story of the work, integrating the situation in the teaching strategy, grasping the teaching strategy of narrative rhythm, developing the teaching strategy from the narrative angle of view, and so on. These teaching strategies can improve the teaching theory of ancient Chinese narrative works in textbooks, improve the current teaching methods of Chinese teaching in senior high school, and improve classroom efficiency.
【学位授予单位】：陕西理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G633.3
[Abstract]:Since the implementation of the new curriculum reform, the contents of the Chinese ancient narrative works compiled and selected in the current edition of senior high school Chinese textbooks account for about 1 / 6 of the selected texts, and the classroom teaching of this part of the selected texts has also become the focus of high school Chinese teaching. This paper attempts to take the Chinese and foreign narrative theory as the main research method, and combines the relevant knowledge of pedagogy and psychology to systematically analyze and discuss the ancient Chinese narrative works in the high school Chinese teaching materials. The thesis is divided into three chapters. The first chapter divides the ancient Chinese narrative works into four categories according to their stylistic differences: ancient narrative poetry, historical literature, ancient opera and ancient novels, and analyze the contents of the four kinds of narrative works. Ancient narrative poems, such as "the mob", "the Peacock flying southeast" and "the preface of the pipa", depict the female images of the mob, Liu Lanzhi and the girl playing the pipa song, and express the author's concern about the fate of the woman. Selected from Zuo Zhuan, Zhanguo Policy, Records of History, Han Shu and other historical books, they vividly shaped the images of historical figures such as candlelight, Jing Ke, Liu Bang, Su Wu, and praised these sages and heroes. There are two ancient dramas, "Dou E injustice" selected the wedge of the original play and the first 70% discount, depicting the civilian woman Dou E's kind and rebellious character; Excerpts from Peony Pavilion, the 10th Dream of shock, portray du Li-niang, the best girl of her family, as a beautiful and affectionate rebel who dares to break through the shackles of feudal ethics. The ancient novels were selected from four famous works in China and Liaozhai Zhi Yi, three words, A History of Confucianism, and so on, which created the images of Cao, Lin Chong, Red Child, Lin Daiyu, Xiangyu, Yutang Chun, and so on. These images all have distinct character characteristics. The second chapter mainly studies the narrative art of these narrative works in senior high school Chinese teaching materials from the perspective of narratology. In this chapter, from the perspective of narrator, narrative angle, narrative time and character type, this chapter expounds the narrative characteristics of these works, and explains these characteristics with examples in the textbook. The narrator's narration often appears in the novels such as Lin Daiyu's entering the Jia House and Yutang Chun, while the drama Dou'e 's injustice belongs to the narrator's narration. The narrative of omniscient perspective is more common in historical biographical literature, such as Dou'e injustice, mob >, Da tie Li Zhuan and other works, which use the perspective of limited knowledge to narrate, "Song of Eternal resentment", etc. "Lin Daiyu's entering into Jia's House" is a comprehensive use of omniscience and limited knowledge. In "Su Wu Zhuan", "Jing Ke prick the King of Qin", various narrative time intervals, such as ellipsis, outline, scene, slowing down, pause and so on, are used synthetically. The sequence of narration is mainly in the order of narration, and the repetition of the narrative language and the content of the story is often seen in the narrative frequency. In ancient Chinese narrative works, the flat characters are the mob, Yang Guifei, Li Kui, and the round characters such as Cao, Lin Daiyu, Song Jiang and so on. On the basis of the first two chapters, the third chapter applies the research results to the practical teaching of Chinese in senior high school, starting from the standards and requirements of the new curriculum standard, puts forward reasonable and feasible teaching strategies according to the characteristics of different narrative works. These strategies include grasping the teaching strategy of the story of the work, integrating the situation in the teaching strategy, grasping the teaching strategy of narrative rhythm, developing the teaching strategy from the narrative angle of view, and so on. These teaching strategies can improve the teaching theory of ancient Chinese narrative works in textbooks, improve the current teaching methods of Chinese teaching in senior high school, and improve classroom efficiency.
【学位授予单位】：陕西理工大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：G633.3
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