《义务教育语文课程标准》要求语文课程全程聚焦学生核心素养发展,课外古诗词诵读是落实核心素养的重要途径.但当下课外古诗词诵读教学较普遍地存在诸如对优秀传统文化体认引导不充分、语言运用实践的情境较单一、评估不科学、发展素养实效不明显等问题.解决这些问题可尝试逆向教学设计,即课外古诗词诵读教学通过预设以实现核心素养发展为中心的教学结果,考虑GRASPS因素设计评估核心素养发展等预期结果是否实现的证据,考虑WHERETO因素设计为实现核心素养发展并获取其实现证据而开展的教学活动,让核心素养在"教—学—评"一体化进程中,动态落实到课外古诗词诵读教学的每一个环节.

教育硕士课程的系统建构和执行,需把握教育硕士的教育起点,即实践应用.修正传统知识类课程体系,构建以实践为导向的课程系统,包括调整理论课比例、在理论课程中加入实践元素、跨学科设置能力课程,见习实习课程化等;并通过以"在场"为指针的课程实施,以学术化教学过程、专业性示范、学术个性表达等教学学术化为范式的课程执行,实现课程目标,对接培养目标.

在教育形势日趋复杂的当下,"内卷化"现象之于教育生态领域特别是基于基础教育阶段的突然浮现,引起了社会的广泛关注."内卷"是使广大学生困惑苦恼又无法摆脱的一种状态,它对于学生教育教学的长成无异于一种自我雕琢般的内耗.此现象的疏解,从制度层面来看,亟待评价模式的多元改革;从教师层面谈,需从"资源型教师"向"启发型教师"转型;从学生层面看,学生的价值认同需寻求从他证到自证的转变.

以中图版高中地理教学参考书为研究对象,通过问卷调查和深度访谈发现现行教参在使用和编写方面存在的问题,同时了解教师的需求;在此基础上将中图版教学参考书的框架结构与国外教学参考书进行比较研究,借鉴国外教学参考书的优点;最后依据2017版课标要求,为教学参考书框架结构的编写提出建议.

高等语文作为通识教育和人文精神教育课程,其开设的必要性和重要意义不言而喻,但由于种种原因,大学的语文课程在很多高校仍处于边缘化地位.只有进一步优化课程,才能发挥大学的语文教育应有的功能.以高等师范非中文专业大学语文课程为例的主要优化策略构想为:网络文化语境下课程内容的多元化、开放性选择；数字化时代的教学模式多样化运用、构建立体感课堂；采取以人为本理念指导下的评价方式,注重过程性、个性化、包容度；选配具有示范性、时代感、责任感的任课教师.

语文课程标准增加文学名著建议阅读篇目以来,广大师生一方面承认名著阅读的价值,另一方面迫于课时压力难以权衡.而在大洋彼岸,美国高中生名著阅读课堂却是截然不同的活跃气氛.追根溯源,对比中美高中生名著阅读学业成就评价的差异,为我们思考名著阅读教学的改善途径拓展了思路. 一、美国高中生名著阅读学业成就评价的特征 (一)多样性 中国高中生名著阅读学业成就通常以大规模标准化考试为主要评价方式,美国高中生名著阅读学业成就评价则呈现出多姿多彩的状态,这种多样性不仅在于评价方法,还在于评价功能.

仓央嘉措既是藏传佛教格鲁派的领袖,也是藏族人民心目中才华横溢的诗人,尊贵的宗教地位使得他备受敬仰,而一部《仓央嘉措情歌》又使得他亲切神秘,本文将通过分析《仓央嘉措情歌》的比兴创作手法,探寻《仓央嘉措情歌》的神秘细腻意境。

Female has been the protagonist of many writers.Ga bean is a successful character in the muslin long poem,Brother Mawu and Sister Gadou.She is one of the typical images of thousands of muslin females who were suppressed,enslaved,insulted in the Chinese feudal society.Though with the spirit of female rebellion,the awakening is slow and hard,and the result is tragic.By analyzing Gadou's character,the tragic causes are found.

由于传播方式的原因,民间原生态的俗赋几乎没有文本样态传播至今。我们今天之所以还能推测民间俗赋的存在,全赖于各种历史文献中记录保存的文人俗赋作品,以及人们对其进行"批评"的文字所传达的信息,也正是这些"批评"使我们知道了历史上民间俗赋与文人俗赋的实存状态。文学选本是一种特殊的批评方式,也是一种普遍的有效的传播方式,俗赋作品的"入选"与"落选"从客观上都有可能起到传播作用。别集则为作家作品的传播提供了较全面的文本依据,其中俗赋作品亦得以保存与传播。晚出的赋话为俗赋的传播起到了广告效应。

There are two general modes of transmission of popular rhapsody,oral transmission and literal transmission,mainly oral but supported by various non-linguistic factors.As character printing becomes popular,character acts as main medium.At the same time,copying and printing promotes the spreading.Early human communication is but a spontaneous act,disorderly in small-scale and lacking in technical means of retaining the image.Therefore,oral folk art directly results in difficulty of preservation,subject to loss.Popular rhapsody is spread from mouth to mouth just for fun,so to speak.Speakers and performers are usually grassroots,impossible to write down to retain their own words.The doom of loss is also due to historical factors,such as exclusion of orthodox and mainstream ideology,burning and destruction of books by the rulers and wars,and cultural wipe under imperial ruler.

The vulgar Fu originates in the folk,but before it is adopted as a formal writing style by the writers,it is possibly not a rigid and strict literary style.Tracing the route of the general literary arts development,we may find that this kind of vulgar Fu technique might have spread both deeply and widely in the folk,and only in this way could it draw attention of the literary figures and scholar bureaucrats,and then arouse rulers' interest which occupied the royal palace,although we still have not conclusive historical data to prove up to now.The direction of this vulgar Fu of folk spreading is to "go to the folk ",the way it circulates is mainly oral,and its audience(readers)is "those lovers of the overwhelming majority ".And it is most probably likely that the most important defenders of this folk literature were the folk tellers and the public concerned.The way the vulgar Fu by literacy figures spread is chiefly text-related,and its direction is "from the folk to the literati".In addition,after its admission into the royal circle,the vulgar Fu gets its "official tunnel" of dissemination,and in the meanwhile the rulers,the royal family and the literary community act as an influential force that cannot be neglected.

The prevalence and acception of Chu-Ci during the age of the Xi-han Dynasties,began from the time of GaoDi and in vogue during the time of WuDi. XuanDi was fond of Chu-Ci and Liuxiang devoted his efforts to Chu-Ci during last time of the Xi-han Dynasties. The prevalence and acception of Chu-Ci had two channel. That one of them was that the governor advocated Chu-Ci, the another was that scholars learned Chu-Ci. It had three fashion of the prevalence and acception of Chu-Ci.The one was explain Chu-Ci; The another was following the example of Chu-Ci; The last one was compiling and commenting on Chu-Ci.

晋代鲁褒“伤时之贪鄙”而著赋体文《钱神论》,其主旨在于讽刺和批判社会“金钱至上”。自其问世以来,对后世产生了很大的影响:从接受的历史来看,一是继承鲁褒的批判用意,借史论事而讽今;二是因事用典,或咏“钱神”之“神”,或言不媚“钱神”之志。因此,只从《钱神论》的社会批判意义诠释作品,尚不足揭示其深刻的文化意蕴;而从接受史的层面考察《钱神论》的文化意蕴,亦颇有意义。

各种文学形式之间的互相影响与互为接受是文学自身发展的规律之一,无论是在同一时期,还是经历了朝更代迭的不同时期,各体文学作品都在题材、语言、风格、审美趣味等方面互为接受与影响。前人曾指出“赋兼众体”,近人亦言“赋”介于诗、文之间。俗赋源自民间,肇始于先秦,明显受到当时民间“谐隐”风俗和“客主问答”通俗文艺形式的影响。汉代民间乐府与俗赋之间的互为接受就更为多见,魏晋南北朝时期俳谐文俗赋化颇为流行。

战乱频仍的魏晋时期孕育了乱世文学,这一时期的文学弥漫着悲怨之声、感伤情绪。文人俗赋(俳谐杂赋)本是游戏之作,以嘲讽、谐谑为目的,以幽默、诙谐为审美特色。但因乱世悲音的笼罩,魏晋俗赋比汉代俗赋更多了几许伤怨气息,带给人们的是苦涩的笑声。

<庄子>一书虽是道家经典著作,但其中关于儒家及其代表人物孔子的记述占了相当大的篇幅.书中孔子的形象颇为复杂,他既是道家批判的对象,又是道家理论的宣扬者.由此可以探讨儒道两家既矛盾又互相渗透的互动关系.