少兒文學(xué)論文精選(九篇)

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第1篇：少兒文學(xué)論文范文

本文作者：張燕作者單位：廣東外語(yǔ)藝術(shù)職業(yè)學(xué)院中文系

搭建其交流平臺(tái)，增強(qiáng)漢語(yǔ)閱讀教學(xué)的活力

在小學(xué)語(yǔ)文教學(xué)中，有一個(gè)比較奇怪的現(xiàn)象：在教學(xué)中耗時(shí)最多，表面上也適合用“量”來評(píng)價(jià)的閱讀教學(xué)，教師卻死死守著每?jī)?cè)教課書的二三十篇課文，對(duì)課外閱讀教材及閱讀篇目或點(diǎn)“目”為止，或置之不理。為什么呢？一是不少小學(xué)語(yǔ)文教師把閱讀僅僅地理解為“讀”，所以閱讀變成了朗讀，變成了堂上百花齊放的誦讀與點(diǎn)評(píng)；二是對(duì)通過閱讀來提高學(xué)生閱讀能力的理論，迫于急功近利的“分?jǐn)?shù)考評(píng)”壓力不敢實(shí)施，而是采用堂上過量分析、講解的方式來“提升”學(xué)生閱讀答題的套用能力。其實(shí)，在當(dāng)下師生都無(wú)法掙脫分?jǐn)?shù)羈絆的前提下，通過搭建豐富的兒童文學(xué)作品的交流平臺(tái)，可以讓教師慢慢由前臺(tái)轉(zhuǎn)到后臺(tái)，從而自然而然地變革教學(xué)方式，使閱讀由“讀”回歸閱讀。譬如，兒歌適合朗誦與游戲：現(xiàn)在課堂教學(xué)常用的方式是誦讀乃至背誦與講解相結(jié)合的方法，讓學(xué)生感知漢語(yǔ)的節(jié)奏與韻律美及積累應(yīng)試所需的語(yǔ)言材料。如，將教師講解兒歌內(nèi)容的時(shí)間縮短，加入設(shè)計(jì)的兒歌游戲，這樣兒歌的學(xué)習(xí)可自然延展到學(xué)童的課外娛樂生活中了。堂上游戲平臺(tái)的搭建，在增強(qiáng)趣味性的同時(shí)，不僅加強(qiáng)了學(xué)童對(duì)語(yǔ)言材料的識(shí)記，而且也加深了學(xué)童對(duì)兒歌內(nèi)容的理解，更重要的是使語(yǔ)文學(xué)習(xí)發(fā)展為語(yǔ)文生活。這樣做雖然會(huì)增加教師課前教學(xué)設(shè)計(jì)的工作量，但課堂教學(xué)的效果、效率及課程的活力都可得到提升。又如，學(xué)生們非常喜歡的童話、故事等兒童文學(xué)作品適合講述與表演：當(dāng)下已有不少教師在單篇作品中運(yùn)用學(xué)生講述與表演的方式來調(diào)節(jié)講析為主單調(diào)的閱讀教學(xué)方式，雖效果不錯(cuò)，卻比較費(fèi)時(shí)且受益面有限。其實(shí)童話與故事可用全冊(cè)集中分組交流教學(xué)的方式，來解決時(shí)間與受益面的問題。堂上講述與表演平臺(tái)的搭建，不僅僅是訓(xùn)練了學(xué)童的口頭表達(dá)能力，而且還可以在活動(dòng)中檢測(cè)學(xué)童的閱讀水平與矯正學(xué)童的閱讀誤區(qū)，更重要的是可以激發(fā)學(xué)童課外自主閱讀的積極性，增加閱讀量，提高閱讀能力。散文適合自主閱讀與體悟：當(dāng)下常用的方式是講讀結(jié)合。其實(shí)，兒童散文一般比較清新、淺近，教師只需點(diǎn)撥一下，可留下更多的時(shí)間讓學(xué)生自主閱讀體悟與交流讀后感。堂上閱讀體悟與交流平臺(tái)的搭建，不僅可節(jié)省大量的堂上時(shí)間，而且有助培養(yǎng)學(xué)童專注閱讀的習(xí)慣，更重要的是有助于學(xué)童自主學(xué)習(xí)與交流、探究能力的形成。搭建各種兒童文學(xué)學(xué)習(xí)的平臺(tái)，可促使教師更多地從臺(tái)前走向幕后，花更多的時(shí)間與精力進(jìn)行教學(xué)設(shè)計(jì)，從整體上、根本上動(dòng)搖以教師為主的閱讀教學(xué)方式的傳統(tǒng)，把時(shí)間與空間交還給學(xué)生，激發(fā)學(xué)生的閱讀興趣，搭建起語(yǔ)文課與學(xué)生的“語(yǔ)文生活”之間的通道，[6]從而解決困擾各層次教育者的“學(xué)生讀書少及不愛讀書”的問題。

回歸其審美特質(zhì)，促進(jìn)作文教學(xué)難點(diǎn)問題的解決

學(xué)生怕寫老師難教，因而寫作教學(xué)不僅枯燥而且低效。學(xué)生為什么“怕”呢？一是寫不出來；二是“寫不好”。其實(shí)兒童文學(xué)可以幫師長(zhǎng)們找出原因與方法：“寫”不為心聲，不是自然而為的，所以寫不出；“好的評(píng)價(jià)”來自成人標(biāo)準(zhǔn)，不是孩子能理解的，所以寫不好。要解決寫不出的問題，其實(shí)教師們首先要像兒童文學(xué)作品一樣回歸兒童的世界，了解他們的心智與情感特點(diǎn)，提出合理的寫作要求：寫心聲，語(yǔ)言自然（稚拙）。對(duì)于還“寫”不出心聲的第一學(xué)段的學(xué)生“說”出心聲，其實(shí)已是“寫”了。這其實(shí)就體現(xiàn)了李吉林老師所說的“提前起步”的作文教學(xué)理念的“提前”了，這種“提前”是教師對(duì)作文教學(xué)的意識(shí)提前，為第二學(xué)段的作文教學(xué)做好鋪墊，并不是簡(jiǎn)單地將三年級(jí)的作文寫作要求提到二年級(jí)甚至一年級(jí)下學(xué)期，使不少學(xué)生在這種要求的壓抑下寫不出作文來。隨著年齡的增長(zhǎng)，書寫困難的解決，學(xué)生或急中生智或背水一戰(zhàn)，“寫不出”的問題會(huì)得到緩解，但隨之而來的“寫不好”的問題卻更為普遍、更難解決。真的有那么多的孩子寫不好嗎？其實(shí)，其中不少的作品我們用兒童文學(xué)的審美特質(zhì)去評(píng)判，則充滿童真之趣。比如，有一個(gè)孩子寫自己學(xué)琴時(shí)等待老師時(shí)的無(wú)聊心情，他不斷地如實(shí)重復(fù)敘述他看到一個(gè)又一個(gè)學(xué)生來了，爬上樓梯，老師還沒來，只好在走廊等，這樣重復(fù)敘述了三四次。當(dāng)然老師的評(píng)語(yǔ)是“重復(fù)啰嗦，應(yīng)寫出每個(gè)同學(xué)不同的細(xì)節(jié)。”這樣的要求其實(shí)等同于福樓拜對(duì)莫泊桑的要求。站在非語(yǔ)文教師角色讀這段文字：第一次敘述覺得“平”；第二次感覺“煩”；第三次有點(diǎn)想笑；第四次忍俊不住。回味整個(gè)片段很有荒誕派小說關(guān)于“無(wú)聊”情緒表現(xiàn)的藝術(shù)效果。教師們重溫一下兒童文學(xué)的審美特質(zhì)“純真、稚拙、歡愉、變幻、樸素”，[7]就會(huì)發(fā)現(xiàn)有不少孩子的習(xí)作是寫得很不錯(cuò)的。由是作文的問題，還不不僅是“分”的問題，還來自于成人對(duì)兒童的了解與尊重的問題———以適合孩子的標(biāo)準(zhǔn)判斷他們的行為，包括寫作活動(dòng)，這樣才能較好地解決作文教學(xué)的問題。對(duì)于孩子們來講，有趣的語(yǔ)文課堂才會(huì)有效。兒童文學(xué)是孩子們的文學(xué)，他們喜歡它。教師有責(zé)任與義務(wù)在語(yǔ)文學(xué)習(xí)中讓孩子們讀自己喜歡的書，說自己想說的話，寫自己能寫的語(yǔ)言。

第2篇：少兒文學(xué)論文范文

在傳統(tǒng)鋼琴教學(xué)中，存在著重技術(shù)、輕美感的不足，在培養(yǎng)少兒對(duì)音樂美的感知能力方面，有意識(shí)的訓(xùn)練相對(duì)比較缺乏。教師在授課過程中，往往以要求學(xué)生彈奏技術(shù)動(dòng)作規(guī)范與準(zhǔn)確，以及通過反復(fù)訓(xùn)練以獲得技能水平的不斷提升為重點(diǎn)。少兒階段的學(xué)生，大多生性活潑好動(dòng)，不容易建立穩(wěn)定的學(xué)習(xí)興趣，如果教師不去有意識(shí)地引導(dǎo)他們?nèi)グl(fā)現(xiàn)、感受音樂的美，只是一味強(qiáng)調(diào)技術(shù)訓(xùn)練，孩子們?cè)诿鎸?duì)日復(fù)一日反復(fù)枯燥的單純技術(shù)性練習(xí)時(shí)，不但體會(huì)不到學(xué)琴的快樂，還很容易失去學(xué)習(xí)興趣。隨著鋼琴教育在我國(guó)的普及，讓來自不同家庭、不同興趣，具備不同能力的學(xué)生都能夠通過鋼琴的學(xué)習(xí)獲得藝術(shù)素質(zhì)的提高，是越來越多家長(zhǎng)追求的目標(biāo)。在鋼琴教學(xué)中，如果在技能訓(xùn)練基礎(chǔ)上，教師能采用更為合理、有效的教學(xué)策略對(duì)學(xué)生進(jìn)行審美能力的培養(yǎng)，相信可以幫助學(xué)生獲得感知、體驗(yàn)、理解音樂美的能力，從而達(dá)到這一目標(biāo)。

二、少兒鋼琴教學(xué)策略

(一)目標(biāo)策略

目標(biāo)策略是指在教學(xué)活動(dòng)中，教師要建立正確的價(jià)值取向，明確藝術(shù)教育的目標(biāo)，為所進(jìn)行的教育活動(dòng)樹立正確的方向。作為美育的一種，藝術(shù)教育的目標(biāo)是使人變得更富于創(chuàng)造力。在鋼琴教學(xué)中，模仿是必然的，而模仿是促進(jìn)還是阻礙了創(chuàng)造的產(chǎn)生，這直接受制于教師的價(jià)值取向———教師將學(xué)生的活動(dòng)作為自我表達(dá)的方式還是僅為模仿?我們強(qiáng)調(diào)藝術(shù)教育要重視自我表達(dá)，自我表達(dá)是學(xué)生根據(jù)現(xiàn)有經(jīng)驗(yàn)(認(rèn)知、審美、情感的經(jīng)驗(yàn))來表現(xiàn)，模仿是擴(kuò)大經(jīng)驗(yàn)的一種途徑。在模仿中培養(yǎng)觀察力和理解力，積累到知覺、情感、審美等方面的經(jīng)驗(yàn)，學(xué)生可以按自己的方法去表達(dá)，在這個(gè)過程中，獨(dú)立思考的能力、創(chuàng)造力都得到了發(fā)展。教師在進(jìn)行技術(shù)訓(xùn)練的同時(shí)，要重視學(xué)生潛能素質(zhì)的培養(yǎng)，多讓他們欣賞不同類型和風(fēng)格的作品，體驗(yàn)作品傳遞的情感，提升美感經(jīng)驗(yàn)，同時(shí)要用生動(dòng)的語(yǔ)言幫助分析旋律所蘊(yùn)含的情緒與思想，充分感受音樂的內(nèi)涵，啟發(fā)創(chuàng)造性思維，并在彈奏中將對(duì)音樂的感受通過自我的方式表達(dá)出來。當(dāng)在此過程中出現(xiàn)一些自我的、具有一定創(chuàng)造性的東西時(shí)，教師應(yīng)該給予鼓勵(lì)，并引導(dǎo)學(xué)生去探索發(fā)現(xiàn)其新的價(jià)值，而不是一味地呵斥，把學(xué)生變成缺乏想象力和創(chuàng)造力的“唯命是從”的學(xué)習(xí)機(jī)器。當(dāng)然對(duì)于出現(xiàn)的各種“創(chuàng)新”，教師也要引導(dǎo)學(xué)生選擇性地進(jìn)行有價(jià)值地取向，否則在無(wú)謂創(chuàng)新的同時(shí)會(huì)失去很多原本存在的美好東西。

(二)轉(zhuǎn)化策略

指在教學(xué)活動(dòng)中，教師需要轉(zhuǎn)換固有的教學(xué)觀念和思路，重視幫助學(xué)生建立穩(wěn)定的學(xué)習(xí)興趣。在當(dāng)今鋼琴教育中，單純的技巧訓(xùn)練不是最終的學(xué)習(xí)目的，對(duì)于少兒學(xué)習(xí)者而言，更多時(shí)候需要培養(yǎng)其對(duì)音樂美的感受、體驗(yàn)和表現(xiàn)能力。如果在學(xué)習(xí)中花大量時(shí)間進(jìn)行手指練習(xí)和解決技術(shù)難題等一些枯燥的內(nèi)容，學(xué)生的好奇心就會(huì)被磨滅，學(xué)習(xí)興趣根本無(wú)從談起，因此，我們應(yīng)多采取啟發(fā)、引導(dǎo)的方式進(jìn)行教學(xué)。彈奏前，教師要用比喻、講故事等形式啟發(fā)學(xué)生挖掘音樂內(nèi)容，幫助他們?cè)谀X海里勾勒出形象或畫面;彈奏時(shí)，要引導(dǎo)學(xué)生將說話中的邏輯性與旋律彈奏相聯(lián)系，讓樂曲中的旋律“說話”和“呼吸”，使每一個(gè)樂句從頭到尾都是感情充沛的;布置作業(yè)時(shí)，可以將新作業(yè)進(jìn)行故事化的講解和有表情的示范，以增加學(xué)生的學(xué)習(xí)興趣。平時(shí)可以引導(dǎo)學(xué)生多聽磁帶、唱片等，有條件的直接觀看音樂家的指揮、演唱或演奏，此類觀摩活動(dòng)可以讓學(xué)生直接感受音樂魅力，并極大地激發(fā)學(xué)習(xí)興趣;可以去野外觀察人與自然，所有的事物都會(huì)在腦海中留下美好的記憶，當(dāng)他們?cè)趶椬鄷r(shí)，就可以自然地產(chǎn)生聯(lián)想，使彈奏出的旋律因具有畫面感而更加優(yōu)美。在這種輕松的氛圍中進(jìn)行學(xué)習(xí)，會(huì)使學(xué)生身心愉悅，興趣大增，不僅在無(wú)意識(shí)狀態(tài)之中就進(jìn)行了有效學(xué)習(xí)，而且還有利于幫助其穩(wěn)定學(xué)習(xí)興趣。

(三)匹配策略

指教師在教育過程中采取的教學(xué)方式要與學(xué)生喜愛或擅長(zhǎng)的學(xué)習(xí)方式相適應(yīng)，使學(xué)生能夠發(fā)揮個(gè)人在學(xué)習(xí)方面的優(yōu)勢(shì)，達(dá)到預(yù)期的教學(xué)目標(biāo)。在教學(xué)活動(dòng)中，教師采取的教學(xué)方式是否與學(xué)生的學(xué)習(xí)方式相適應(yīng)，取決于相互的認(rèn)知風(fēng)格是否匹配。針對(duì)學(xué)生認(rèn)知風(fēng)格的長(zhǎng)處實(shí)施與之相一致的教學(xué)風(fēng)格，稱為匹配策略;針對(duì)學(xué)生認(rèn)知風(fēng)格的短處進(jìn)行有意識(shí)的引導(dǎo)和彌補(bǔ)，稱為失配策略。由于學(xué)生受到不同的遺傳、家庭、個(gè)人等因素的影響，各人的發(fā)展存在客觀差異。作為教學(xué)中的兩個(gè)主體，一方面，教師需要了解并針對(duì)不同學(xué)生的認(rèn)知風(fēng)格調(diào)整教學(xué)策略，與之保持匹配;另一方面，學(xué)生要了解自身認(rèn)知風(fēng)格上的不足和缺陷，全面提高自身的能力。設(shè)計(jì)教學(xué)活動(dòng)時(shí)，教師應(yīng)考慮到學(xué)生接受信息時(shí)在感覺通道方面的個(gè)體差異，避開學(xué)習(xí)方式上的弱點(diǎn)或影響學(xué)習(xí)效果的因素，引導(dǎo)學(xué)生掌握并運(yùn)用有利于自己的方式來學(xué)習(xí)。例如，在面對(duì)學(xué)習(xí)認(rèn)真但缺乏創(chuàng)新意識(shí)和表現(xiàn)力的學(xué)生時(shí)，引導(dǎo)他們?cè)谙嗤膬?nèi)容上嘗試不同的表現(xiàn)方式，開啟他們想象和表現(xiàn)的大門;在面對(duì)接受力和表現(xiàn)力很強(qiáng)，但缺乏刻苦精神的學(xué)生時(shí)，要引導(dǎo)他們細(xì)致觀察，先說出自己對(duì)音樂的感知和理解，再動(dòng)手進(jìn)行有表情、有感情的表現(xiàn)。每個(gè)人(包括教師自己)都有適用于自己的學(xué)習(xí)方式，教師要意識(shí)到適合自己的學(xué)習(xí)方式不一定適合他人，要注意避免教學(xué)的主觀化傾向，盡量采用與學(xué)習(xí)個(gè)體相匹配的方式進(jìn)行教育。采取匹配策略進(jìn)行教學(xué)，針對(duì)性強(qiáng)，能達(dá)到優(yōu)化教學(xué)的效果。失配策略在一定程度上也可以對(duì)教學(xué)活動(dòng)起到促進(jìn)作用，但需要注意的是這種策略在前期會(huì)對(duì)學(xué)生造成一定的困擾，尤其針對(duì)學(xué)習(xí)的自覺、自控能力并不成熟的學(xué)生，可能會(huì)覺得無(wú)所適從，因此不宜經(jīng)常采取失配策略。

(四)評(píng)價(jià)策略

評(píng)價(jià)策略是指通過正確掌握評(píng)價(jià)尺度，構(gòu)建合理的評(píng)價(jià)標(biāo)準(zhǔn)，引導(dǎo)學(xué)生平衡學(xué)習(xí)心態(tài)，明確學(xué)習(xí)目的和方向，激發(fā)和維持學(xué)生的學(xué)習(xí)動(dòng)機(jī)，逐步走向成功。學(xué)生必須志于學(xué)、樂于學(xué)，才能取得優(yōu)良的成績(jī)，教師的工作就是引導(dǎo)、幫助學(xué)生取得成功，而學(xué)生的成功往往源于教師的鼓勵(lì)。在教學(xué)中，教師要學(xué)習(xí)贊賞學(xué)生的獨(dú)特性、愛好、專長(zhǎng);贊賞學(xué)生付出的努力和表現(xiàn)的善意;贊賞學(xué)生對(duì)教材的質(zhì)疑和對(duì)自己的超越。每節(jié)課以鼓勵(lì)、肯定為主，針對(duì)不足部分進(jìn)行講解時(shí)，先肯定優(yōu)點(diǎn)，再提出要求。這種激勵(lì)性評(píng)價(jià)有益于學(xué)生樹立信心，積極進(jìn)取。鼓勵(lì)或批評(píng)，都是為實(shí)現(xiàn)某一目標(biāo)而實(shí)施的手段，鼓勵(lì)是增加動(dòng)力，批評(píng)是增加壓力，在教育中這兩點(diǎn)都是需要的。對(duì)于缺乏自信的學(xué)生，要抓住點(diǎn)滴進(jìn)步進(jìn)行表?yè)P(yáng)和鼓勵(lì)，可以激發(fā)其學(xué)習(xí)動(dòng)力;對(duì)于能力強(qiáng)、容易驕傲自滿的學(xué)生，要在肯定的基礎(chǔ)上，指出缺點(diǎn)和不足進(jìn)行批評(píng)，鞭策其向更高的目標(biāo)努力奮進(jìn)。不論鼓勵(lì)或批評(píng)都會(huì)使學(xué)生的心理發(fā)生變化，作為教師最重要的就是根據(jù)學(xué)生的不同情況，掌握好評(píng)價(jià)的尺度，使評(píng)價(jià)成為有效教學(xué)的杠桿。在針對(duì)學(xué)生的彈奏進(jìn)行評(píng)價(jià)時(shí)，教師還要特別關(guān)注評(píng)價(jià)的標(biāo)準(zhǔn)。我們不應(yīng)該以“像不像”來評(píng)價(jià)每個(gè)學(xué)生的藝術(shù)創(chuàng)造和表現(xiàn)，而應(yīng)該更多地關(guān)注學(xué)生體驗(yàn)其經(jīng)驗(yàn)和表現(xiàn)的程度。學(xué)習(xí)鋼琴?gòu)椬嗟闹饕康木褪翘岣哞b賞音樂美的能力，增強(qiáng)對(duì)音樂美的理解和表現(xiàn)，教師需要了解學(xué)生的學(xué)習(xí)特點(diǎn)，才能保護(hù)好每一個(gè)學(xué)生的表現(xiàn)欲望，通過正確合理的評(píng)價(jià)促使學(xué)生以一種自我肯定的、富有創(chuàng)造性的態(tài)度去感受、表現(xiàn)音樂，以持續(xù)的熱情去表現(xiàn)他們感受到的音樂之美。

三、結(jié)語(yǔ)

第3篇：少兒文學(xué)論文范文

[Key Word] Reading interesting; reading material; literature reading; young adult literature; adolescence

[摘要] 當(dāng)前中學(xué)所普遍存在的英語(yǔ)文學(xué)閱讀狀況是:學(xué)生閱讀是為了完成老師布置的任務(wù)和應(yīng)付考試。當(dāng)閱讀滿足他們的這些任務(wù)后，他們的課外閱讀行為就停止。本文針對(duì)這種現(xiàn)象作了具體的原因分析，指出在國(guó)內(nèi)大部分中學(xué)英語(yǔ)教學(xué)中，閱讀材料是影響學(xué)生進(jìn)行英語(yǔ)文學(xué)閱讀的一個(gè)重要原因?；仡檱?guó)外學(xué)者在這領(lǐng)域所做的理論和實(shí)踐研究，提出把青少年文學(xué)的特點(diǎn)和中學(xué)生所處發(fā)展時(shí)期的各方面的需求結(jié)合加以分析，采用把青少年文學(xué)作為課外閱讀材料這一教學(xué)方法。我們通過一系列的教學(xué)活動(dòng)如課外興趣小組，課外閱讀活動(dòng)，閱讀作業(yè)，培養(yǎng)和提高中學(xué)生英語(yǔ)學(xué)習(xí)能力和文學(xué)閱讀興趣。作者對(duì)為什么以及如何運(yùn)用青少年文學(xué)讀物作為新型課外閱讀材料以培養(yǎng)學(xué)生的興趣和情感進(jìn)行初步的討論， 以此引發(fā)更多的討論。

[關(guān)鍵詞] 閱讀興趣;閱讀材料;文學(xué)閱讀;青少年文學(xué);青少年時(shí)期

1. Introduction

As a rule， the teaching of reading in senior schools， both public and private， will move in one of two directions: up or down. When effectively taught， the study of reading can be the most exciting event of the adolescent student’s day. Young people can become deeply engrossed in what they read. They can respond with intensity and conviction.

Interests as factors in genuinely productive reading study are slippery elements indeed. Inventories provided to students in an attempt to discover what they prefer in reading materials can be， and often are， faked by the inventory takers. Thus， the discrepancy between what some young people claim they enjoy reading and what they will actually interact with can be a significant one. Furthermore， teachers must be ever mindful of the differences between their interest， taste， and enthusiasms for certain material selections and those of their students.

How about the situation of reading in senior schools in China? Most students are lack of interest and motivations in reading. The purpose of their reading is to pass the exam. As a result， the students do a little reading outside lessons. Why did these problems exsist?

2. Interest in Reading

In leading young people toward increased reading awareness， teachers used to consider the nature and extent of the interest factor on those efforts. Interesting are a two-edged sword. When positive， they can enhance teachers’ efforts to involve their students in the concern with reading materials and do so most significantly. When negative， however， they present a formidable obstacle to meaningful transaction taking place between texts and readers.

2.1The Status of Reading in senior Middle School

This is an accurate picture of the reading programs in many middle and secondary schools that still have students move chronologically through the literature anthology and choose the traditional classics as their outside reading. Most students are simply unable to connect the text with their goals， level of development and experience. Language development affects cognitive development and vice versa students at this age read at a much higher level of ability when they are reading something that matches their developmental interests and goals. Most students cannot read classic literature well [i.e， they cannot have personal involvement with it]. Students think of the literature as something they cannot understand; therefore， they think they are not intelligent inpiduals.

‘‘The result of the survey about the status of reading which were done by John S. Simmons reflected that Middle school and high school students often balk at display of overt enthusiasm for the selections they are asked to read in the class precisely because they are adolescents. To many of them， the fact that a work is on the required list means that it simply cannot be interesting. They will doggedly refrain from any display of enthusiastic or appreciate response despite the teachers ’creative efforts or the actual effect the work has had on them. ‘Boring’ become the operative judgment. In reading that categorical implacable judgment， they retain their cool demeanor， on which they value above all else. When faced with such study they often have melodramatic indifference.’’[1]p(20)

It seems that school have accomplished just the opposite of what they intended to do. They have turned students off from reading rather than made them lifelong readers. Teachers have failed to choose reading materials that enable students to become emotionally and cognitively involved in what they read. If students are asked to read literature that is not consistent with their development tasks， they will not be able to interact fully with that literature. As a result， students who do not interact with the literature are left with leaning only about literature.

“The same problems also exist in most senior schools in China. Students’ purpose of reading is only to finish the work given by teachers or pass exam. When they finish their work， they stopping reading， for they are asked to read the traditional classics that are chosen in order to complete the teaching mission. But the classics are written in a style and with syntax and vocabulary that are often quite foreign to students in senior middle school. So most students think of literature as something that is difficult for them’’.[2] I have talked to some teachers and students in senior middle school. I have found that most students appeal that their reading materials are difficult and not suitable for them. They can understand the meaning well. So they don’t like to read.

2.2 Factors That Affect Interest in Reading

“The key factor to determine reading is choosing suitable reading material to students. Obviously， there will be many students who will turn away from the task of studying literature because of inadequate competence in the necessary reading skill. Metaphoric expressions， for example， abound in all literary works， whether they are fictional， poetic， or dramatic. Such expressions are placed in those works to clarity indeed intensity， the meanings those works. When students are unable to establish precise relationships between metaphors and their referents， however， what was put there to clarity produces confusion instead. It doesn’t take many such experiences in missed communication to discourage or vex less able readers. Given the additional problem of these students’ probably limited attention spans， the options of giving up selection which is metaphoric are often the one taken. Even though the classics literature may speak to the universal human condition， young people have trouble relating because they have not experienced many of those human condition.

At the same time， some links need to be established between that ability and the interest. Interest in reading fluctuates widely before the age of sixteen， an age at which many students begin to think seriously about choices affecting their future: college， military service， industrial careers， dropping out of the academic scene altogether， and so forth. For most young people， interest in reading usually peaks between the age of twelve and fourteen. It is a period of intense， prolonged introspection in which the desire to raise and organize problems about self is at its height. It is a kind of limbo between a lost childhood and approaching adulthood. People at this age tend to be more interested in being alone with their lives. For some， reading fictions， especially novels which delve into the teenage experience， can be a source of comfort， challenge， stimulation， and escape. Young adult literature focuses on the nature and availability of literature with which youngsters at that difficult stage of their lives can identify.”[3]

John S. Simmons point out “People in these years are also capable of， and often involved in， deeper reflection that centers on abstract concepts: love， loyalty， fear， justice， betrayal， and the like. Obviously， their reading can feed this preoccupation， but the fare must be nourishing. In short， abstract thinking may contain a profound concern with interpersonal relationships， and reading can provide countless opportunities for them to view their problems from the detached prism of fiction.’’[4](p75)

‘‘Some of these interpersonal problems will be quite obvious. Some mention of them should be made.

1)

Problems related to communication with younger siblings， partially stemming from thirteen-year-olds’ desire that the ‘‘little people’’ regard them as adult-and these younger children’s irritating reluctance to cooperate;

2)

Problems related to the conflicting need to be accepted into a peer group;

3)

Problems which reside in thirteen-year-olds’ ambivalence toward members of the opposite sex (i.e， culture and peer pressure， clash with hormones). The gap between girls’ and boys’ relative immaturity exacerbates this greatly.

In all of the above， imaginative literature can become a source of excitement， revelation， guidance， and solace. Teachers as guidance counselors can be of great personal assistance to adolescents in their struggles. The movement of middle school curricula toward an emphasis on the personal and social identities of early adolescents， rather than on the cultural heritage into which they will someday be assimilated， provides a whole new niche for literature to occupy， one in which its relevance to the nature of the early teenage years can be maximized.’’[5](p75-76)

3. The Possibility and Practicality of Using Young Adult Literature as Reading Materials for Outside Reading

Teachers in senior middle school are usually responsible for introducing the study of literature to their students: Young Adult Literature can serve as an excellent vehicle for such an introduction. Teachers in senior middle school who deal with students of lower ability， non-academic motivations， and limited cultural backgrounds should also consider the use of Young Adult Literature to provide insight into the nature of literature study for those inpiduals. Young Adult Literature seems to offer an abundant and valuable resource to teachers who want to guide their students through this transition.

3.1 The Character of Young Adult Literature

Donelson and Nilsen offer the definition of Young Adult Literature:‘‘ any book freely choose for reading by some one in this age group’’.[6]p(2) Later it was defined as ‘literature written or marketed primarily for teenagers; Books to whose main characters the teenagers can personally relate; stories with an uncomplicated， often single plot line; books with plot that address the concerns of the young adults; literature that attracts a young adult readership’[7]p(2) Compared with the definition offered by Nilsen and Donelson， this definition is more specific and comprehensive. In recent years， Young Adult Literature is also considered as ‘books written for adult， about young adult and liked by young adults’ and more and more teachers prefer to match young adult books with classics bearing similar themes; thus， the genre of Young Adult Literature is further expanded.

As a reading material， young adult literature has many common characteristics: conflicts are often consisted with the young adult’s experience， themes are of interest to young people， protagonists and most characters are young adults， and language parallels that of young people. It is simply written in a natural， flowing language much like the way in which the young adults speak. Young adult literature is usually shorter. The young adult can finish in a comparatively short time without feeling tired and bored. This will guarantee an engaged and efficient reading. And Young Adult Literature is graded reading materials meeting young people’s different level intellectual development.

3.1.1 Young adult’s emotional development

‘‘Adolescence and preadolescence are difficult， unsettled periods for young people. They are no longer children. They are no yet adults. It is a time of change: a time for physical growth， sexual awareness， emotional and cognitive development. As young people move through these experiences or stages， they seem to be so alone in their struggle. But few of young people asked their parents and other adults to help them through their difficult period in their lives. Reading books helps young adults in their journey –their rites of passage—into adulthood. Books provide experiences that may help young adults through their adolescent years. Providing young people with Young Adult Literature not only in the bookstores but also in the class is imperative if we want adolescents to read about more experiences than they could have on their own. In addition， this literature serves young people in their struggle with identity， with their relationships with adults， and with their choices， which often suggest their concern with moral questions of right and wrong.’[8](p25)

3.2 Effective and Positive Influence

‘‘Young adult literature provides enjoyment， satisfaction and literary quality while it brings life and hope and reality to young people. The wide range of topics in Young Adult Literature such as friendship， death， porce， alienation， sibling rivalry， peer cruelty， racism， hostility and egocentricity， even struggle， conflict and feeling of the futility and hopelessness of life dramatize life in unfamiliar environments as experienced by characters of the learner’s own age. And therefore stimulate learners in encouraging self-expression and idea exploration. In this way， literature enlarges the students’ knowledge and understanding of human behavior for it exhibits thoughts and feelings which are often concealed in real life. Students， on the other hand， bring their unique life experience and world look when coming to read a text in class. Their confirming， revising or refuting the original outlook after confronting the writer’s view enable them to come up with a new understanding of the world .Then they will share their readings with their peers and teachers and reshape their understanding if needed. This aesthetic stance of reading is quite different from the traditional way of reading in that the former allows readers to have a virtual experience， living in the story world， connecting with characters， being emotionally involved while the latter focuses on looking for facts defined by Rosenblatt as ‘efferent reading’ which actually prevents learner from achieving the power of English expression.

Young Adult Literature is an attractive and motivational reading source that will satisfy the young adults’ reading interest at a particular age and help develop youngsters’ reading proficiency. Over a long period of time， Chinese young learners have been usually recommended to read some classic adult literature in simplified various which are considered as unappealing or out-dated. Young Adult Literature is a bridge between children’s literature and adult literature. It reflects a unique yet universal period of biological change and development for each human being.’’[9](p21-22)

3.3 Students Own Response

When Sullivan asked her students for information about their reading interest and habit， a ninth student said: ‘I love to read， but I hate literature’. He suggested that what he was reading in school had nothing， or at least very little， to do with him. He told us that his book report offered some relief because he could usually choose something that he knew how he would like， but what he read in the classroom was as he called it ‘dumb’.[10]P(156)

The details those students offer support the previous summary most have a very exciting experience with literature during their elementary schooling， but the break in this happy experience comes as they enter junior high or middle school.

There is obviously a wide chasm between what the school offers for students to read and what the students want to read in reading program. Students have had fewer experiences—and for some， no experience at all—in such areas as marriage and porce， ambition， greed and hate， so it is more difficult for them to make honest responses about what meaning is true for them. In contrast， when the book has a teenager as the protagonist and other young adult characters， the balance of knowledge and the authority that is brought in that reading is changed. Young adult are more easily able to evaluate the characters， their problems and the resolution of these problems.

4. The Power of Young Adult Literature Reading

One of the key reasons for students’ low interest in English learning is lack of the attractive and coherent reading material. Reading material which are used in the school are exam-oriented and boring which may hinder the students enthusiasm for learning English. Simultaneously， affect plays an important role in the learning English and English teaching should arouse the learners’ interest and motivation. The influence of Young Adult Literature reading materials in stimulating the learners’ love of reading and English learning from the prospect of affective factors is obvious. The qualitative evidence further proves that students really enjoy reading and sharing what they read with the peers. Benefits of other kinds from the Young Adult Literature reading are also obvious; such as increased vocabulary， faster reading speed and better reading comprehension. More encouraging is the fact that the majority of students are determined to read continuously after the experiment.

5. Using Young Adult Literature Materials outside Class in Senior Middle School---The Teaching Procedure

Outside reading promotes the initiative activity with the students. It is not forced by teaching missions. Students can choose the reading materials which they are interested in. As the counselors， teachers have to teach students how to ensure an effective outside reading.

5.1 Selecting Reading Materials

Choosing the appropriate reading materials is a key factor to the students’ love of reading. A very important part of the appropriate materials selection for any English or language is age appropriate. Day and Bamford state that ‘‘getting students to read extensively depends critically on what they read. The reading materials must be both easy and interesting. If the books do not appeal to most of the class， then all the efforts will be in vain.’’[11](P49) It seems appropriate to offer a minimal reminder as we select a novel for study as an example of what can be done in a response-centered class. If we expect students to have sufficient experience for a response， they must be able to relate in some manner to the assigned literature.

Karolides states the significance of using appropriate reading materials: ‘‘the language of a text the situation， characters， or the expressed issues can dissuade a reader from comprehension of the text and thus inhibit involvement with it. In effect， if the reader has insufficient linguistic or experiential background to allow participation， the reader cannot relate to the text， and reading act will be short-circuited.’’[12]) (P132)

In practice of selection， students can be invited to skim the information about a book around the book cover. Use the information in the picture， the famous critiques， the plot summary， the table of contents， the classified category， ect， to make guesses about what they are going to read is an efficient way to select interesting book.

Therefore， teachers must find the interesting， attractive and enjoyable materials that are personally significant to our students and that are within their linguistic ability.

5.2 Conducting Group-discussion

It is best， however， to allow students to lead the discussion of the novel. This approach teaches students that they can function with self-sufficiency and without teachers influencing their responses.

‘‘Small-group discussions may give students an opportunity to discuss some of their most important responses before sharing them in the large group. The small groups may also be used to allow students to further explore the general response that they shared in the large group. Students often feel less threatened in small groups and are more willing to explore ideas in that setting. Like large groups， smaller groups must have rules of behavior that enable students to function effectively in the interaction. Students must feel secure with their responses， and they must responses to others. They will recognize similarly among all of the responses.’’[13]

‘‘The teachers’ listening skills are crucial in this initial phase. As students react， you may need to make follow-up statements， questions， or acknowledgments to help them clarify， justify， or elaborate on their ideas. If the discussion drags， use generic question early in the discussion and more content-specific question later in the process. Try to keep these questions at a minimum and emphasize the teachers’ spontaneous reaction to students’ response because reactions are much more meaningful to students， and they help move the discussion on using students’ ideas rather than teachers’.

Here are some questions types to elicit students ’response:

Questions requiring students to remember facts:

Describe…

List…

What…?

Questions requiring students to prove or disprove a generalization made by someone else.

Would someone like to comment on that point?

OK. Anybody wants to add to what…said?

Question requiring students to derive their own generalizations.

How did you feel at the end of the story?

What did it mean to you?

Anything you want to talk about?

Questions requiring students to generalize about the relation of the total work to human experience

What …mean? / What is the author saying by….?

What is the significance of the statement…?

Question requiring students to carry generalization derived from the work into their own lives.

What were your first associations?

Can you relate the story to anything in your own experience?’’[14](p31)

5.3 Performing a Creative Drama

Role-play and improvisation expand the boundaries of experiences for students so that they develop a more complete understanding of themselves and the literature they are reading. Through role-playing and improvisation， students are able to think as characters would think and act as characters would act. Students take on a persona different from their own and work at making that character come alive as they perceive what that character would be like if he or she was real.

5.4 Writing a Book Report

“Responding reports including book report， the journal， the narrative， the personal essay， help students to become personally involved with the literature. They begin by having students make personal responses. After students have read and written about the novel on a personal level， they are ready to move to a more ‘intellectual’ level. They now think about the author’s craft: what strategies and techniques did the author use to generate the responses students have?

Responding reports also integrate reading and writing. Students can enjoy the totality of the novel by responding to the ideas presented and by understanding the techniques used by the author. Their thoughts about a particular issue or a question are a novel change as they move through the first draft of that paper. Many say that they use the journal in making these initial drafts. The very act of writing triggers other new responses. Some ideas are abandoned; other is expanded. Students feel more at ease when responding to a work in this way because they are in control of how they respond: how they structure their responses， what they include， and what they omit. As a result， they will grow in their understanding of their novel in particular and of literature in general.’’[15]

5.5 Reading management

Whether young Adult Literature can be used successfully as English outside reading materials largely depends on skillful management of the teachers that should be alert to avoid the old-ways of teaching. Traditional approach in teaching emphasizes close reading of the text with all the historical and cultural clues removed to find the only correct meaning in the text. Experienced teachers have with needed the degree to which motivation， whatever its origins， can lead to over learning by students who otherwise lack needed reading skills or broad sophistication in facing certain works of literature. When they are genuinely turned on， it is amazing what some youngsters can accomplish in the classroom. Conversely， well-prepared teachers usually find only frustration when they present works to indifferent groups， no matter how high the quality of those works are.

“Wang Xiaoping suggests that the following methods are effective:

1)

Using a familiar literary source or a song， a poem， a picture， a book cover， etc. to lead students into the text;

2)

Allowing students a quiet reading of partial text;

3)

Revealing just enough facts about the text to arouse students’ interest in the new work;

4)

Relating in discussion the text themes to students’ present concerns. [16](p30)

Positive teachers create enthusiastic readers. Creative oral and written activities with young adult literature have a positive effect on young people. Teachers must create within each class a positive atmosphere， a way of life conductive to promoting reading through positive affect. Positive teachers are realistic but always look for the best in their students. Teachers have an important role in fostering this reader response. They also share in the responsibility of helping students with their developmental tasks， growing moral judgment， and reading appreciation. The teacher participates in the discussion as an ordinary reader but also as a facilitator

Encourage students to talk extensively

Help students makes a community of meaning

Talk turns talking

Don’t interrupt

Ask. Don’t tell

Give comments， but be nice

Affirm students’ responses

Encourage reluctant readers

The affective studies of Rosenthal and Jacobsin showed that teacher’s positive attitudes toward the learning capabilities of students designated as likely to make substantial gains did， in fact help teachers provide a learning environment where those students prospered.[17](p49) We believe that creative oral and written activities with young adult literature have a positive effect on young people.

6. Conclusion

Young Adult Literature with its special features is considered as the reading material for the students in senior middle school. Its effective power is very helpful for the students. The teachers who work in some way with young people require familiarity with the characteristics of this age group. It is important that teachers know about young adult literature. In the western countries， reading literature is one of the most important courses in the school. In addition the relationships between teachers and students and teaching material are free and active. They can choose the teaching materials which they are interested in and change the teaching courses or ways freely. So they taught young adult literature to students in the classroom. The situation in China is similar. Different from the native speakers， the students in China do little literature reading because of the difficulty and cultural difference. Most teachings are done only for exams and teaching missions. So in China we have greater difficulties in promoting the use of young adult literature for outside reading.

So far， the research in this field is comparatively limited. Young adult literature is not available in most of the schools and most teachers find it difficult to put it into practice. And we have a lot of practical problems to solve. Nevertheless， if we keep on trying a practice we will fine more effective ways to enhance our students’ English interest and improve reading abilities.

Bibliography

[1] John S. Simmons & H. Edward Deluzain. Teaching Literature in Middle and Secondary Greades. [M] United State: Allyn and Bacon，1992.

[2] 趙均. 情感與初中英語(yǔ)課外讀物達(dá)標(biāo). [J] 北京。首都師范大學(xué) 2004.

[3] 王初明. 外語(yǔ)學(xué)習(xí)中的認(rèn)知與情感需要. [J] 第四期

[4] Donelson，k.，& Nilsen， A..Literature for Today’s Young Adult. [M] 5th edition. Glenview， IL:Scott，F(xiàn)oresman，1997.

[5] John H.bushman&Kay Parks Haas. Using Young Adult Literature in The English Classroom. [M] 3rd edition.Merrill Prentice Hall 67.2001

[6] 隋莉英 The Power of Young Adult Literature Reading Material in Fostering Learns’ Positive Affect in English Reading [J] 北京 首都師范大學(xué)學(xué)報(bào) 2005

[7] Sullivan，A.M.. The natural reading life: A high school anomaly. [M] english Journal， 80(6)， [M]40-46.1991

[8] Karolides， N.J. The Transactional Theory of Literature. In N.J.Kaolides(Ed.)，reader response in the classroom [M] 1992

第4篇：少兒文學(xué)論文范文

我還記得當(dāng)年站在成都金牛賓館禮堂的領(lǐng)獎(jiǎng)臺(tái)上的那個(gè)情景，那是2011年7月10日，陽(yáng)光飛揚(yáng)劍橋國(guó)際少兒英語(yǔ)明星學(xué)員大賽西南地區(qū)頒獎(jiǎng)典禮在成都金牛賓館禮堂隆重舉行。當(dāng)主持人宣布獲得陽(yáng)光飛揚(yáng)劍橋國(guó)際少兒英語(yǔ)明星學(xué)員大賽西南地區(qū)一等獎(jiǎng)的王子傲上臺(tái)領(lǐng)獎(jiǎng)時(shí)，我興致勃勃地走上領(lǐng)獎(jiǎng)臺(tái)，陽(yáng)光飛揚(yáng)董事長(zhǎng)蔣孝彬先生親自為我頒發(fā)了榮譽(yù)證書、獎(jiǎng)牌、獎(jiǎng)品及鮮花。我右手捧著榮譽(yù)證書和鮮花，左手拿著屬于我的獎(jiǎng)牌，前面是一個(gè)免費(fèi)游學(xué)清華北大的禮品牌子。我真是心潮澎湃，熱血沸騰，內(nèi)心的喜悅不由得使我心花怒放。我高興的簡(jiǎn)直就要跳起來了，因?yàn)椋铱梢匀ノ业膲?mèng)想學(xué)堂清華大學(xué)游玩。

這次我能獲得西南地區(qū)英語(yǔ)比賽一等獎(jiǎng)，是我平時(shí)刻苦努力學(xué)習(xí)英語(yǔ)，經(jīng)過為時(shí)三個(gè)月、歷經(jīng)初賽、復(fù)賽、決賽三個(gè)階段的艱辛努力的結(jié)果。雖然，我取得如此成績(jī)，只是我在學(xué)習(xí)英語(yǔ)中邁出了第一步，有了一個(gè)良好的開端，我還要繼續(xù)努力，爭(zhēng)取一定要奔向清華大學(xué)。

合上這枚貝殼，我繼續(xù)漫步在記憶的沙灘之上

必讀：名師寫作手法介紹

在現(xiàn)代文閱讀的題目中，常常有一些概念分不清，從而導(dǎo)致答題錯(cuò)誤。特別是當(dāng)題目問表達(dá)方式、寫作方法和修辭手法時(shí)，經(jīng)常是問此答彼，怎樣區(qū)別它們呢？

表達(dá)方式，是指寫文章時(shí)所采用的反映社會(huì)生活、表達(dá)思想感情、介紹事物事理的方式手段。常用的表達(dá)方式有5種，即：記敘（敘述）、議論、抒情、描寫和說明。

記敘文主要以記敘和描寫為主，其中兼有說明、抒情和議論；說明文主要以說明為主，也有敘述、議論甚至描寫；議論文以議論為主，兼有記敘、說明或是抒情。

寫作方法，也叫表現(xiàn)手法，是指在文學(xué)創(chuàng)作中塑造形象、反映生活所運(yùn)用的各種具體方法和技巧。包括：對(duì)比、象征、托物言志（托物喻人）、欲揚(yáng)先抑、襯托（烘托）、夸張諷刺、借景抒情、前后照應(yīng)等。像《白楊禮贊》一文借贊美白楊樹挺拔向上、不屈不撓的精神來贊美北方的農(nóng)民，采用的是象征的寫作方法。

第5篇：少兒文學(xué)論文范文

“關(guān)于紐伯瑞獎(jiǎng),我們知道得越來越多”

由首都師范大學(xué)外國(guó)語(yǔ)學(xué)院舉辦的《美國(guó)紐伯瑞青少年文學(xué)金獎(jiǎng)作品研究》研討會(huì)日前在京舉行。研討會(huì)圍繞該書出版的意義、我國(guó)青少年文學(xué)研究的現(xiàn)狀以及如何加強(qiáng)國(guó)內(nèi)學(xué)術(shù)研究與出版交流等話題展開討論。

由河北少兒社出版的《美國(guó)紐伯瑞青少年文學(xué)金獎(jiǎng)作品研究》是目前為止惟一對(duì)紐伯瑞獎(jiǎng)進(jìn)行集中評(píng)介的論集,也是一個(gè)了解美國(guó)的青少年文學(xué)的窗口。該書主編、首都師范大學(xué)副教授王小萍介紹說,在大學(xué)英語(yǔ)教學(xué)的過程中,她對(duì)英語(yǔ)青少年文學(xué)產(chǎn)生了興趣,并逐漸將關(guān)注點(diǎn)集中在紐伯瑞獎(jiǎng)獲獎(jiǎng)作品上,因?yàn)檫@個(gè)獎(jiǎng)項(xiàng)代表了美國(guó)兒童文學(xué)的一種趨勢(shì)。她提到,在紐伯瑞獎(jiǎng)作品研究過程中,原版書籍和資料的收集、閱讀是最大的困難,盡管他們通過各種渠道盡最大努力來呈現(xiàn)這些作品,但還是沒能夠進(jìn)行全面的研究,有些作品只能舍棄。

第6篇：少兒文學(xué)論文范文

作者選取電子媒介時(shí)代的童年和兒童文學(xué)研究這個(gè)課題非常具有現(xiàn)實(shí)性和前瞻性。童年為何要再現(xiàn)?兒童文學(xué)如何面臨重構(gòu)?這與電子媒介的飛速發(fā)展密切相關(guān)。

二十世紀(jì)中后期,電視、網(wǎng)絡(luò)等電子媒介興起并開始深刻影響社會(huì)的方方面面。在享受電子媒介為我們創(chuàng)造的各種便利的同時(shí),一些困擾也縈繞在了我們的身邊。在經(jīng)濟(jì)利益的驅(qū)逐下,收視率、收聽率、點(diǎn)擊率、發(fā)行率、上座率紛紛追高,由此帶來的問題是全民皆?shī)蕵?社會(huì)整體浮躁。人們?cè)絹碓搅?xí)慣電子媒介帶來的快捷便利,立體刺激的聲光電勝過黑白交織的平面文字。提筆忘字的人多了,靜下心來思考的人少了。美國(guó)的媒體文化研究者和批評(píng)家尼爾?波茲曼向世人警示:“我們將毀于我們所熱愛的東西?！薄胺簥蕵坊眱A向?qū)?guó)民心理、社會(huì)風(fēng)氣、人生觀和價(jià)值觀的樹立等方面帶來的負(fù)面效應(yīng)已經(jīng)日益顯見。在這樣的時(shí)代背景下,兒童和青少年的教育也不無(wú)例外地面臨著前所未有的巨大挑戰(zhàn)。像尼爾?波茲曼在《娛樂至死》一書中所說:“媒介文化把傳播和文化凝聚成一個(gè)動(dòng)力學(xué)過程,將每個(gè)人裹挾其中。于是,媒介文化變成我們當(dāng)代日常生活的儀式和景觀?！蔽覈?guó)有不少文學(xué)批評(píng)家和理論家已就媒介和媒介對(duì)文學(xué)的影響展開研究。歐陽(yáng)友權(quán)指出:在數(shù)字化媒介的強(qiáng)勢(shì)覆蓋下,“讀圖”勝于讀文,“讀屏”多于讀書,直觀遮蔽沉思,沖擊美感,文化符號(hào)趨于圖像敘事。圖像文化的視覺沖擊不斷擠壓著文字閱讀的市場(chǎng)空間,萎縮了文學(xué)消費(fèi)的讀者陣營(yíng)。

譚旭東敏銳地捕捉到了電子媒介給我們的生活帶來的種種變化并從個(gè)人的童年經(jīng)驗(yàn)出發(fā),認(rèn)為電子媒介對(duì)當(dāng)今兒童的影響是巨大的。首先,兒童面對(duì)的是印刷文化和電子文化相交織的文化環(huán)境,在這一環(huán)境里,兒童從上輩那里線性地接受文化熏染已不可能。其次,電子媒介改變了兒童的思維方式和行為方式,電子信息形成了兒童新的認(rèn)知圖式和認(rèn)知心理,從而使其童年體驗(yàn)發(fā)生變化。傳統(tǒng)的教育體系已不可避免地遭到電子媒介的解構(gòu)。在印刷文化時(shí)代,兒童的社會(huì)化更多的是依賴讀書和學(xué)校教育,而電子媒介的興起構(gòu)成了教育的挑戰(zhàn)力量,電子媒介在學(xué)校教育和家庭教育之外參與了兒童的社會(huì)化過程。

作者對(duì)兒童所處的境況深感焦慮,通過閱讀西方學(xué)者論著發(fā)現(xiàn),雖然他們?cè)谔接戨娮用浇閷?duì)兒童的影響和對(duì)文學(xué)的影響方面有著相當(dāng)?shù)纳疃群蛷V度,但媒介與兒童特別是和兒童文學(xué)內(nèi)在或外在之聯(lián)系的研究還存在空白地帶。國(guó)內(nèi)當(dāng)代文學(xué)批評(píng)界和文化研究專家對(duì)電子媒介對(duì)于兒童和兒童文學(xué)的影響也缺乏研究。作者深刻洞察并敏銳地捕捉到了這一空白,勇敢而自覺地?fù)?dān)綱此課題,并希望以此拋磚引玉,引發(fā)更多學(xué)者對(duì)這些問題的思考。

這部論著的思路很清晰,其基本觀點(diǎn)是:童年是在兒童觀、兒童教育和讀寫文化等多種合力的作用下被歷史地建構(gòu)起來并得以確認(rèn)的,電子媒介時(shí)代的到來,兒童教育文化和印刷文化都遭到了電子媒介文化的解構(gòu),童年生態(tài)遭到破壞。面對(duì)童年的這種危機(jī),必須重塑兒童文化,以新的教育文化和閱讀文化來抵制電子媒介文化的負(fù)面影響,達(dá)到呵護(hù)童年和捍衛(wèi)童心的目的。兒童文學(xué)作為兒童文化的一部分,在電子媒介所導(dǎo)引的商業(yè)文化、娛樂文化的影響下也出現(xiàn)了種種問題,因此必須重建兒童文學(xué),才能使兒童文學(xué)成為呵護(hù)童心、捍衛(wèi)童年的兒童文化。

第7篇：少兒文學(xué)論文范文

關(guān)鍵詞：語(yǔ)文教學(xué)；課外閱讀；指導(dǎo)方法

課外閱讀是語(yǔ)文學(xué)習(xí)的重要途徑。對(duì)小學(xué)生來說，做好課外閱讀，不僅可以大大拓寬學(xué)生的視野，提高語(yǔ)文能力，還可以豐富學(xué)生的人文涵養(yǎng)，塑造良好的品質(zhì)和健康的人格。許多作家、學(xué)者成功的經(jīng)驗(yàn)表明，語(yǔ)文素養(yǎng)的提高，大都得益于大量且廣泛閱讀。新課標(biāo)第一次規(guī)定了小學(xué)生課外閱讀量，并提出閱讀速度的要求。這是對(duì)語(yǔ)文教育改革的一次突破，對(duì)小學(xué)語(yǔ)文教學(xué)有著較好的指導(dǎo)作用。因此，教師必須把指導(dǎo)學(xué)生課外閱讀作為教學(xué)的一項(xiàng)重要任務(wù)。下面我想結(jié)合教學(xué)實(shí)踐，談?wù)勗鯓又笇?dǎo)小學(xué)生課外閱讀。

一、營(yíng)造良好氛圍，激發(fā)小學(xué)生課外閱讀的興趣

披文而入情，讀書重在激情。我們要營(yíng)造良好的讀書氛圍，使學(xué)生受到情感的陶冶。一個(gè)喜歡閱讀的教師更容易帶出一批喜歡閱讀的學(xué)生。教師首先要在教學(xué)中利用一切適當(dāng)?shù)臋C(jī)會(huì)營(yíng)造良好氛圍，激發(fā)學(xué)生對(duì)課外閱讀的興趣。如在教學(xué)《福爾摩斯的推斷》時(shí)，我發(fā)現(xiàn)學(xué)生對(duì)福爾摩斯特別佩服，就不失時(shí)機(jī)地讓學(xué)生去收集、閱讀有關(guān)福爾摩斯的文章。學(xué)習(xí)了《嫦娥奔月》后，讓學(xué)生收集如《開天辟地》《女蝸補(bǔ)天》等許多中國(guó)古代有名的神話故事。這樣有目的的進(jìn)行課外閱讀，既能增強(qiáng)學(xué)生對(duì)課外閱讀的興趣，又能提高他們n外閱讀的質(zhì)量。

班級(jí)讀書會(huì)也是小學(xué)生在學(xué)習(xí)伙伴間形成課外閱讀的氛圍重要形式，主要做法是：先引導(dǎo)學(xué)生用一段課外時(shí)間讀一本教師或同學(xué)推薦的書，然后用一個(gè)集中的時(shí)間由同學(xué)和教師共同對(duì)該讀物自由討論，也可以交流一些同學(xué)的讀后感等?？梢宰岄喿x成為游戲一樣的童年生活。

此外，開展讀書筆記評(píng)展、精彩詩(shī)篇朗誦會(huì)，以及利用影視作品開展影視主題活動(dòng)都是營(yíng)造閱讀氛圍的好辦法，都可激發(fā)學(xué)生的課外閱讀興趣，促使學(xué)生把課外閱讀當(dāng)成一種自發(fā)性、有渴求欲的自我行為。

二、引導(dǎo)小學(xué)生選擇合適的課外讀物

小學(xué)生在閱讀中，面對(duì)身邊各種各樣的書，常常不知如何取舍，不知讀哪一本好，也不知如何去讀，對(duì)于這些問題教師如果不重視，學(xué)生很容易對(duì)閱讀失去興趣，引導(dǎo)小學(xué)生選擇合適的課外讀物要注意以下幾點(diǎn)。

小學(xué)生都具有好奇心強(qiáng)、好表現(xiàn)的心理特點(diǎn)，比較渴望神秘、冒險(xiǎn)、刺激，仰慕機(jī)智、勇敢、轟轟烈烈等。同時(shí)，小學(xué)生的認(rèn)知水平、接受能力都有限。根據(jù)這些特點(diǎn)，我精心挑選學(xué)生喜聞樂見的經(jīng)典兒童讀物，如《海底兩萬(wàn)里》《木偶奇遇記》《吹牛大王歷險(xiǎn)記》，以及安徒生、格林兄弟的作品甚至迪尼斯的故事等。這些經(jīng)典兒童文學(xué)書籍既是符合兒童心理和認(rèn)知發(fā)展水平的課外讀物，又能促進(jìn)他們完美地發(fā)展，純凈孩子的精神世界，敞亮孩子的心扉，激發(fā)他們一生的文化向往。

三、指導(dǎo)小學(xué)生掌握正確的閱讀方法

張之洞曾經(jīng)說過：“讀書不得要領(lǐng)，勞而無(wú)功。”小學(xué)生課外閱讀個(gè)體性強(qiáng)，隨意性大，受控因素小。因此教師要指導(dǎo)學(xué)生學(xué)會(huì)閱讀方法，培養(yǎng)良好的閱讀習(xí)慣。

1.加強(qiáng)課內(nèi)外溝通，拓寬閱讀渠道

首先，我們要充分利用教材，指導(dǎo)閱讀方法，拓寬閱讀渠道。在教學(xué)實(shí)踐中，我經(jīng)常以課本為出發(fā)點(diǎn)，有計(jì)劃地拓展學(xué)生的閱讀視野，拓寬學(xué)生的知識(shí)面。如，教學(xué)《新型玻璃》前，布置學(xué)生翻閱與課文相關(guān)，相近的文章、資料等。學(xué)生遨游在知識(shí)的海洋里，學(xué)習(xí)興趣大增，課堂上競(jìng)相發(fā)言。如有的同學(xué)說：“我想做一套這樣的房子，它可以飛、可以潛水、還能沖出宇宙，尋找更新的世界?！庇械耐瑢W(xué)說：“我想讓每戶人家都裝上一扇智能門鎖。把家庭每個(gè)成員的相貌、聲音、指紋等信息輸入電腦，它就能輕而易舉地識(shí)別出來，只要主人觸摸門鎖，它便自動(dòng)打開，對(duì)其他人則不理不睬?！备鞣N有創(chuàng)意的構(gòu)想如汩汩泉水涌出。學(xué)生在課堂學(xué)習(xí)的基礎(chǔ)上，再讀讀原汁原味的作品或類似的書，使知識(shí)縱橫溝通。

2.根據(jù)不同文體，進(jìn)行分類指導(dǎo)

各種課外讀物的閱讀方法是不同的，應(yīng)根據(jù)不同的文體，采用不同的閱讀方法。我根據(jù)小學(xué)生的年齡特點(diǎn)，從怎樣閱讀連環(huán)畫、童話、寓言、故事、小說、科普讀物、優(yōu)秀作文和少兒報(bào)刊進(jìn)行分類指導(dǎo)。如指導(dǎo)學(xué)生讀少兒報(bào)刊，運(yùn)用瀏覽和細(xì)讀兩種方法。指導(dǎo)學(xué)生拿到報(bào)紙先統(tǒng)覽全貌，大致了解有哪些消息和文章，然后選擇重要的、新鮮的和自己感興趣的細(xì)讀。還教給學(xué)生根據(jù)專題收集資料剪貼、寫摘要、做卡片的方法。

四、培養(yǎng)小學(xué)生良好的閱讀習(xí)慣

培養(yǎng)學(xué)生的閱讀習(xí)慣是閱讀教學(xué)的任務(wù)之一。良好的閱讀習(xí)慣可以使小學(xué)生樂意閱讀、有效閱讀、享受閱讀。在指導(dǎo)課外閱讀的過程中，我注意從以下幾方面培養(yǎng)小學(xué)生的閱讀習(xí)慣。

1.訓(xùn)練讀書用眼的習(xí)慣

減少眼動(dòng)次數(shù)，逐步擴(kuò)大閱讀視野，縮短注視字詞時(shí)間，減少回視，這樣既提高閱讀的準(zhǔn)確性，又能提高讀速，形成默讀習(xí)慣。

2.訓(xùn)練閱讀時(shí)用腦的習(xí)慣

文章大體分三種體裁：記敘文、說明文、議論文。而這三種文章各有不同的閱讀步驟，如：記敘文的閱讀步驟為：文章題目―文章體裁―主要人物―時(shí)間―地點(diǎn)―事件―中心思想。每次，拿到記敘文的閱讀材料時(shí)，邊讀、邊思、邊記這些要點(diǎn)，達(dá)到理解記憶。

3.訓(xùn)練“不動(dòng)筆墨不讀書”的習(xí)慣

第8篇：少兒文學(xué)論文范文

有人說:讀書是苦的累的。作為學(xué)生,不僅要學(xué)習(xí)許多知識(shí)點(diǎn),閱讀大量中外名著,甚至有時(shí)會(huì)被老師“教育”一番?？晌艺J(rèn)為,讀書是快樂的。下面給大家分享一些關(guān)于讀書高三議論文2020范文，希望對(duì)大家有所幫助。

讀書高三議論文范文1讀村上的作品是友人薦的，他借了我本《且聽風(fēng)吟》，說是讓我感受村上的文風(fēng)。我是一個(gè)感性多一點(diǎn)的欠理性的生物，故往往對(duì)文字優(yōu)美的作品情有獨(dú)鐘，少些大家級(jí)別的思想深度無(wú)關(guān)緊要。一觀此書名，心生一股欣賞的沖動(dòng)。在一陣虎咽般的吞咽下，沒尋到由書名而聯(lián)想到的文筆和情節(jié)，倒是腦中徒增一絲不解與陰郁。但盡管如此，書中簡(jiǎn)單的文字風(fēng)格著實(shí)磁鐵般的深深地吸引了我。

莫名的感動(dòng)之余，借了本村上的《挪威的森林》。閱前的我曾是一個(gè)不擇不扣的樂天派，認(rèn)為世界是美好的，活著是幸福的?？勺韵崎_《挪威的森林》的扉頁(yè)起，內(nèi)心愈發(fā)迷惑，愈發(fā)壓抑得無(wú)法呼吸。合書后的心情自是可見：除對(duì)村上淡淡的筆調(diào)的認(rèn)可外，剩下的便是因主人公不算可歌可泣卻絕對(duì)悲烈的經(jīng)歷產(chǎn)生的一絲悲傷和彷徨。而此感在與自身青春歲月的缺陷而系后便被無(wú)限的放大了。

這令人窒息的憂傷直至讀完《活著》而痊愈。或許《活著》是《挪威的森林》的一劑解毒藥，或許這關(guān)系本末倒置也應(yīng)無(wú)可厚非吧，又有誰(shuí)能知哪個(gè)是毒藥呢?又或許本不應(yīng)稱解毒藥，誰(shuí)又能保證不會(huì)因《挪威的森林》一般的人或事而再次中毒呢?

若我們?cè)诒^與樂觀中來回?fù)u擺而渡過一生時(shí)，的悲哀也就降臨了。這也就是常說的缺乏堅(jiān)定的信念。樂觀是一種信念，悲觀亦是。不同時(shí)期從兩者不斷切換時(shí)，信念便被舉棋不定的猶豫而代替了，風(fēng)格亦隨之消失了。如此，我們就可被代替，存于世的價(jià)值便會(huì)被這可代替性分解得煙消云散了。正如士兵在教官的口哨聲中左轉(zhuǎn)右轉(zhuǎn)一樣，還是原地未動(dòng)，卻惹了一身疲憊，真正糟糕之處便在于此。聯(lián)想到人生，在人生的十字路口本是沿著一個(gè)方向堅(jiān)定走下去，卻總是左轉(zhuǎn)和右轉(zhuǎn)，中毒、解毒、再中毒，喘息之余忽得發(fā)現(xiàn)，自己離起點(diǎn)只有一步而已。其實(shí)在十字路口的迷失不是因選錯(cuò)方向，而是不斷地變換方向。

說到底，這悲哀源于讀者只讀不思或讀后略思造成的。未經(jīng)沉重思考而贊同并吸收作者思想，其內(nèi)心應(yīng)未真的感動(dòng)，只是暫時(shí)的感染而已。過段時(shí)日，其所中之“毒”便被其他書籍給解了。如此反復(fù)，其顆粒無(wú)收，書讀越多，越是迷惑，空付(負(fù))了時(shí)間。

讀書之正道，依愚之見，當(dāng)是精貴于多。此精有兩層涵義：一，書本的可讀性高;二，讀者對(duì)書中所闡釋的內(nèi)容完全理解(關(guān)于贊同與否，那就見仁見智了)。

如若余之言，然善讀書者鮮已。

讀書高三議論文范文2從物質(zhì)方面來說，它是傳播信息和知識(shí)的橋梁;從精神方面來說，它是幫助失意的人們重振信心的一劑良藥。書，拉近了時(shí)間的距離，縮短了地域的間隔;書，在感悟中獲得境界;書，在欣賞中放松心情，愉悅身心，修身養(yǎng)性。

是的，書籍是人類進(jìn)步的階梯。生活里缺少了書籍，就好像大地沒有太陽(yáng);智慧里缺少了書籍，就好像鳥兒沒有了翅膀。

俗話說：“水養(yǎng)人，書養(yǎng)心?！蔽覍?duì)書算是情有獨(dú)鐘。我喜歡倚在書架旁嗅著金檀木的清香，輕輕拂開一頁(yè)頁(yè)的書，陶醉于優(yōu)美的意境。

有了書籍這條思想的航船，我就像海面一樣吸收著知識(shí)的海水。在《賣火柴的小女孩》里，我明白了什么叫美與丑，善與惡;在《少兒百科全書》里，牛頓、愛迪生、瑪麗·居里那些偉大的科學(xué)家們都在向我招手，指引我前方的路，也讓我看到了光明，看到了那科學(xué)頂峰的燦爛，在其中體驗(yàn)知識(shí)的真諦，科學(xué)的美麗，在知識(shí)的海洋中遨游;在《老人與?！分校铱匆娨粋€(gè)老人同鯊魚的斗爭(zhēng)，力量雖然薄弱卻又如此強(qiáng)大，在那濁浪排空的海域中，我理解了老人對(duì)海的不屈斗爭(zhēng)……我就這樣樂此不疲地在書海中遨游著。不亦樂乎!

“冰凍三尺，非一日這寒;滴水穿石，非一日之功。”正如杜甫所說：“讀書破萬(wàn)卷，下筆如有神。”孔子手不釋卷，才有“韋德三絕”的故事，中華才有這位大名鼎鼎的教育家和思想家。魯迅正是用別人休息的時(shí)間加緊學(xué)習(xí)，才成了中國(guó)的先鋒。因此，讀書也是要靠頑強(qiáng)的毅力的。

記得有一次，我向同學(xué)借了本書，叫《騎鵝歷險(xiǎn)記》，這本書非常的厚，還沒看到來一半我就想放棄，可當(dāng)我想到魯迅、別別孔子成功的緣由時(shí)，便咬咬牙，重捧那本書，花了半個(gè)月的時(shí)間終于看完了，我才為差一點(diǎn)看不到這本書而感到惋惜。

孤獨(dú)時(shí)，書是益友;煩悶時(shí)，書是敞開的窗戶;陰霾時(shí)，書是燦爛的陽(yáng)光……

書，我的好朋友。

讀書高三議論文范文3書籍是人類進(jìn)步的階梯。

讀書破萬(wàn)卷，下筆如有神。

書讀百遍，其義自見。

讀書，是為了讓我們?cè)黾又R(shí)量，是為了讓我們學(xué)到課本之外學(xué)不到的東西，擴(kuò)充我們對(duì)其他知識(shí)的補(bǔ)充，而讀書，也是有技巧的，在此刻的書店里，琳瑯滿目，讓你看的眼花繚亂。各種各樣的書，各式各樣，讓你不明白到底去看那一種書了，其實(shí)也不難，你去選取圖書時(shí)，先明白，你想讀那一類的書，如歷史，文學(xué)，童話……多看幾本這種類型的書，覺得哪本書的資料更好，字體更適宜，就去選取哪本。當(dāng)然了，這只是我的個(gè)人觀點(diǎn)。

下方，我們要關(guān)注另一個(gè)在讀書時(shí)要意注的問題，那就是，保護(hù)好自我的眼睛。為什么在學(xué)校，往往都是學(xué)習(xí)好的戴眼鏡，學(xué)習(xí)不好的反而不帶了呢，不是因?yàn)閷W(xué)習(xí)不好的就不看書了，因?yàn)樗麄兊目磿鴷r(shí)間短。那有人就該說了，“雖然我近視了，但我的知識(shí)量比他多，還是我好?！钡@種人反而是錯(cuò)的，知識(shí)量不夠，能夠慢慢補(bǔ)充，畢竟時(shí)間還很長(zhǎng)。但眼睛近視了，那但是永久也挽救不回了呀。而且如果你的眼睛不好，你的一些理想就會(huì)灰飛煙滅。在看書時(shí)，在注意時(shí)間的把握，這本書就算再吸引你，你也要把握時(shí)間，雖然多多看書有好處，但沒有個(gè)度也是不行的。還有就是看書時(shí)的姿勢(shì)了，此刻大多數(shù)人，都喜歡躺在床上看書，(也包括我)但大家明白嗎，躺在床上看書是很毀眼睛的。所以為了自我好，必須要把握好呀。

在讀書中，我們肯定會(huì)為書中搞笑的情節(jié)而哈哈大笑，也會(huì)為了一些凄涼，悲慘的情節(jié)，而默默流淚。在讀書時(shí)，我們的表情是千變?nèi)f化的。隨著社會(huì)的加速發(fā)展，人們對(duì)書的要求也是越來越高。而我對(duì)書卻沒有什么要求，只要適合我的年齡段，只要我喜歡，還有就是只要書中的字體不要太小就行。書都是一樣，不管是哪一類書，都能夠?yàn)槲覀儙碇R(shí)。文學(xué)類的，帶領(lǐng)你走進(jìn)詩(shī)歌、散文的王國(guó)。歷史類，讓你感受到歷史的精彩。就連漫畫，也可讓我們充滿幽默細(xì)胞……書，都是好的，記住吧，讀書只會(huì)讓自我更上一層樓，讓我們一齊翱翔在書的海洋中!

讀書高三議論文范文4書籍是人類進(jìn)步的階梯，一本好書，能夠相伴終生，多讀好書，是能夠受益終生的。

書，有好有壞，有利有弊，老師主張同學(xué)們讀好書，好讀書，多讀書。

讀好書，是指要把一本書讀好，讀后要細(xì)細(xì)品味，多加思考，更要勤摘抄好句好段。這樣才能把一本書讀好。另外，老師還讓我們“讀好書”，是想讓我們多讀名著，名家名作，從中吸取其精髓，從而做到“學(xué)以致用”。暑假里，我讀了作家楊紅纓寫的一本《楊紅纓童話系列》，里面有3個(gè)故事，第一個(gè)故事《親愛的笨笨豬》中的笨笨豬雖然笨，但是它誠(chéng)實(shí)、善良，因此小動(dòng)物們都愿意和它交朋友，愿意幫忙它;《流浪狗和流浪貓》中的流浪狗、流浪貓雖然在流浪，沒有固定的住所，也沒有穩(wěn)定的三餐，但是它們沒有被這種生活環(huán)境所嚇倒，依然勇敢、樂觀地生活著;第三個(gè)故事《沒有尾巴的狼》中的狼被一個(gè)小孩陶陶所感化，由一只人見人怕，人人憎恨的狼變成了一只見義勇為、深受大家喜愛的狼。這些故事教育我從小就要做一個(gè)誠(chéng)實(shí)、善良、勇敢、樂觀的人，使我懂得了許多做人的道理。

讀好書，能夠明智，能夠慧心;好讀書，則是指：讀書，是要有興趣的，讀一本好書，更是要有平和的心態(tài)，一個(gè)人讀書時(shí)，如果靜不下心來，那肯定讀得不知其所然，這本書也就算白讀了，但，喜歡書，愛讀書的人就不一樣了，只要一捧起書，便會(huì)完全沉盡其中，被作家的優(yōu)美文筆所陶醉，被作家筆下的動(dòng)人故事所感動(dòng)，會(huì)為其悲，同其樂。興趣是的老師，所以，想要讀好書，更要愛讀書。只有愛讀書，才能真正從書中汲取精華和營(yíng)養(yǎng)，從而使自我精神不斷升華，文學(xué)素養(yǎng)不斷提高。

書中自有黃金屋，書中自有顏如玉。在我還不識(shí)字時(shí)，媽媽就常常給我講《格林童話》和《安徒生童話》中的小故事，從那時(shí)起我就被書中的故事所吸引，對(duì)書充滿了向往;當(dāng)我背起書包上學(xué)時(shí)，我就開始看自我喜歡的書了;隨著年齡的增長(zhǎng)，老師推薦我們看更多的好書。這讓我能時(shí)常融入書中，體會(huì)書香的獨(dú)到之處，更重要的是讓書成為了我成長(zhǎng)中不可缺少的必需品，讓書香時(shí)刻點(diǎn)綴著我的生活，使我的生活變得豐富多彩，充滿了濃濃的書香味!

我愛讀書，更愛讀好書!書會(huì)是我永遠(yuǎn)的朋友，它會(huì)伴隨我度過快樂而幸福的一生!

讀書高三議論文范文5書籍是人類數(shù)百年來無(wú)數(shù)聰明才智的載體，它記錄著人類記幾十年的知識(shí)教訓(xùn)。隨著社會(huì)發(fā)展，社會(huì)上形形的書卷也日益繁多。當(dāng)我應(yīng)對(duì)如排山倒海般襲來的“書山書?！保唤麜?huì)想，我們?yōu)槭裁醋x書。

高爾基說過“書籍是人類進(jìn)步的階梯?！比藶樯妫瑸榱丝紝W(xué)，拼命的讀書，有人甚至說書籍是生計(jì)的敲門磚，有了事業(yè)即可不要書。對(duì)于這一觀點(diǎn)，我不敢茍同，正如培根所說，“讀史使人明智，讀詩(shī)使人靈秀，數(shù)學(xué)使人周密，物理使人深刻，倫理使人莊重，邏輯使人善辯?！痹谖铱磥?，讀書的目的并不在于為考試，而在讀書，若只為考試而讀，那變是讀死書。我認(rèn)為，讀書的真正目的應(yīng)是以下四點(diǎn)：

第一，讀書讓人獲得知識(shí)。這是最淺顯的作用。

我們從小到大所讀的教科書目的也大于此。它讓獲得豐富的知識(shí)，獲得淵博的學(xué)識(shí)，也讓人們得到學(xué)位和工作，這些無(wú)足輕重的“副產(chǎn)品”。這一層的讀書只是為了生活和學(xué)識(shí)。不可否認(rèn)，知識(shí)的獲得也是十分重要，畢竟“熟讀唐詩(shī)三百首，不會(huì)作詩(shī)也會(huì)謅”嗎?

第二，讀書讓人提高修養(yǎng)。

閱讀一本好書，正如同一位知識(shí)淵博的學(xué)者談話，“他”的語(yǔ)言中無(wú)不閃爍智慧的火花，無(wú)不傳答著高尚的修養(yǎng)，從一本書中學(xué)到的修養(yǎng)，提高的品格，遠(yuǎn)比在生活磨礪中體會(huì)的深刻，體會(huì)的徹底。正如林語(yǔ)堂所說的如果讀者獲得書中的“味”，他便會(huì)在談吐中把這種風(fēng)味表現(xiàn)出來，如果他的談吐中有了風(fēng)味，他在寫作中免不了會(huì)表現(xiàn)出風(fēng)味來。著此間淺移默化的“味”，不正是在讀書中體味的素養(yǎng)嗎?

第三，讀書讓人開闊視野。

人生活的范圍有限，限制于空間與時(shí)間的連鎖中，當(dāng)他只能同身邊的交談，他的認(rèn)識(shí)是膚淺的，他的學(xué)識(shí)是簡(jiǎn)陋的。但當(dāng)他打開一本書，時(shí)間，空間便再不能限制于他，他能夠坐在家中看到世界各地，品味古今中外，他能夠體會(huì)古戰(zhàn)場(chǎng)上“馬作的盧飛快，弓如霹靂弦驚”的宏大，能夠體會(huì)大草原上“風(fēng)吹草地牛羊”的生機(jī);能夠體會(huì)黃昏下“枯藤老樹昏鴉，小橋流水人家”的憂;能夠體會(huì)“白日放歌需縱酒，青春作伴好還鄉(xiāng)”的歡喜。在書中人能夠翱翔于智慧的天空，他的視野也不會(huì)只存在于一省，一市，一縣，一國(guó)而是整個(gè)宇宙整個(gè)空間。著也許讀書所換來的樂趣吧。

第四，讀書讓人明白事理。

韓愈曾說“人非生而知之者，孰能無(wú)或?”我想的疑慮也莫過于不明事理吧，讀書里的名人，也許剛好能夠找到答案，看世界名人的作人處事，從中能夠?qū)W到許多方法，對(duì)于明白事理，應(yīng)是十分重要的吧。

第9篇：少兒文學(xué)論文范文

你聽到了新年到來的腳步聲嗎？匆匆的！自信的??！激情的！??！

每逢辭舊迎新之際，人們總會(huì)回顧光榮，馳騁夢(mèng)想。

2009年，是我們有著沉甸甸的收獲的一年。

全校上下緊緊扭住三星復(fù)審四星創(chuàng)建的中心，“以評(píng)促建”，不斷硬化教學(xué)設(shè)施，深化

辦學(xué)內(nèi)涵，面貌煥然一新。裝備了大型電子顯示屏幕。武裝了文科名師工作中心。開辟了“老子文化墻”。開辦了“念奴嬌”廣播電臺(tái)。開設(shè)了“艷陽(yáng)天”心理咨詢中心。開通了圖書電子化管理系統(tǒng)。

教師專業(yè)成長(zhǎng)成績(jī)喜人：“忠誠(chéng)教育，熱愛學(xué)生，傳承文明，完成使命，崇尚榮譽(yù)”的核心價(jià)值觀深入人心。4位老師在省級(jí)以上賽課中獲得一二等獎(jiǎng)各兩個(gè)，學(xué)科涉及語(yǔ)文數(shù)學(xué)物理化學(xué)。1位老師獲評(píng)江蘇省優(yōu)秀教育工作者；1位老師獲評(píng)南通市園丁獎(jiǎng)，2位老師獲評(píng)南通市優(yōu)秀教育工作者。1位老師入選南通市名師培養(yǎng)第一梯隊(duì)預(yù)備隊(duì)，1位老師被遴選為“南通教育：廿一世紀(jì)的二次詮釋”系列叢書《高效課堂：模式與案例》主創(chuàng)人員、“江蘇優(yōu)質(zhì)教學(xué)資源”研發(fā)創(chuàng)作團(tuán)隊(duì)主講教師。4位老師獲評(píng)如皋市優(yōu)秀教育工作者，1位老師入選感動(dòng)如皋教育十大人物，1位老師入選如皋市功勛教師；1位老師入選如皋市“三創(chuàng)人才”，1位老師入選如皋市“名教師”。鮑龍榮獲如皋市2009年度中小學(xué)主題班會(huì)課現(xiàn)場(chǎng)課比賽高中組一等獎(jiǎng)；劉書梅等6位老師獲得南通市語(yǔ)言學(xué)會(huì)2009年學(xué)術(shù)研討會(huì)優(yōu)秀論文一二等獎(jiǎng)；丁曉燕獲如皋市“教育人生”征文一等獎(jiǎng)。李玉俊、鄭曦媛獲如皋市“教育人生”書畫一等獎(jiǎng)；程曉龍獲“萬(wàn)城淺水灣”杯電視歌手大獎(jiǎng)賽一等獎(jiǎng)。