材料作文論文

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材料作文論文范文第1篇

關(guān)鍵詞：材料作文；審題立意

材料作文，是防“押題”的最好作文形式。相對于話題作文而言，它的審題立意難度較大，又由于高考作文自1999年到2005年一直是話題作文，因此，當(dāng)它今年再次出現(xiàn)在高考語文全國卷上時，眾多考生不知所措，偏題、跑題現(xiàn)象嚴(yán)重。為此，筆者針對“學(xué)生在材料作文審題立意上存在的問題”提出幾個注意點(diǎn)。

一、切忌“根據(jù)材料的部分內(nèi)容”立意

一般說來，出題者的意圖是通過整個材料來顯示的。如果不在審視整個材料的基礎(chǔ)上把握觀點(diǎn)，而是斷章取義，就不能很好的體現(xiàn)命題者的用意，從而造成偏題、跑題現(xiàn)象。例如：（材料一）人們看到潔白的荷花時，總是情不自禁的贊揚(yáng)它出淤泥而不染；可沒有想到，沒有淤泥，能有荷花嗎？材料分兩部分內(nèi)容，前一部分旨在說明淤泥的壞處，后一部分旨在說明淤泥的好處。綜合整個材料可立意為：“看問題要全面。”有的學(xué)生審題時只注意了材料的前一部分或后一部分，因而錯誤地立意為“任何事物都有它的作用”等。

二、切忌“在材料的非主要信息上”立意

有些材料，信息點(diǎn)很多，給正確立意帶來一定的影響。這就要求我們在審題時進(jìn)行認(rèn)真分析，根據(jù)各個信息在材料中所占比例及材料語言形式的特點(diǎn)，確定出主要信息（因?yàn)橹挥兄饕畔⒉欧从巢牧系闹髦迹?，在此基礎(chǔ)上立意。否則，立意就會偏離材料。例如：（材料二）長江從源頭流來，雖經(jīng)千曲百轉(zhuǎn)，有時向東又轉(zhuǎn)向東南，向東北，向北，向東，又向西，但不管它怎樣曲折反復(fù)，終將流向東----太陽升起的地方。

這個材料的信息點(diǎn)有兩個，一是長江的流向曲折，二是長江終將流向東。這兩個信息乍一看象是側(cè)重于前一個（因?yàn)樗诓牧现姓嫉谋壤^大），但是只要留心一下材料的語言形式，就會發(fā)現(xiàn)后一個信息是主要的——轉(zhuǎn)折復(fù)句強(qiáng)調(diào)的是后。

三、切忌通過類比聯(lián)想進(jìn)行立意

材料的形式多種多樣，有的是事實(shí)型的，有的是寓意型的，但不管材料是哪種，它提供的只是一種現(xiàn)象，立意時要求把它所包含的道理、蘊(yùn)含的實(shí)質(zhì)揭示出來，為些，審題就要經(jīng)過一個由特殊到一般、由現(xiàn)象到本質(zhì)的思維過程。有的學(xué)生不明白這一點(diǎn)，在立意時進(jìn)行類比聯(lián)想，即從材料這一特殊現(xiàn)象出發(fā)聯(lián)想到與之相似的另一特殊現(xiàn)象，然后把聯(lián)想的結(jié)果作為觀點(diǎn)，這種立意方法是非常錯誤的。

仍以材料二為例，有的學(xué)生由“長江向東流”聯(lián)想到“歷史向前發(fā)展”，因些立意為“歷史的潮流不可阻擋”。這個觀點(diǎn)是類比聯(lián)想的結(jié)果，沒有上升到對材料本質(zhì)認(rèn)識的高度，因此是不正確的。

四、立意時要考慮出題者的態(tài)度

大多數(shù)材料都具有感情傾向性（即帶有出題者對材料中人或事的褒貶態(tài)度）。這種感情傾向直接反映著出題者的意圖，反映著材料的主旨，審題時若不把這種感情因素考慮進(jìn)去，就會造成立意的失誤。例如：（材料三）宋元之際，世道紛亂。一學(xué)者許衡，行路時，口渴難忍。路遇梨樹，眾人皆圍而摘梨，唯許衡不為所動。人問之，日：“此非吾梨，豈能亂摘？”人以其迂腐，譏之：“亂世梨無主。”衡正色日：“梨雖無主，而吾心有主。”

材料作文論文范文第2篇

在早期人類社會對綜合材料的應(yīng)用過程中，人們雖然已經(jīng)初步懵懂的解綜合材料的不同類別，但是究竟如何通過綜合材料的特性來進(jìn)行搭配，表達(dá)出一系列的含義，仍然是早期人類社會所不能夠完成的。隨著時間的不斷推移，人類智慧的不斷進(jìn)化，人類社會對于綜合材料的感知能力和思維能力不斷提升，人類社會對于某一種特定材料背后所蘊(yùn)含的含義的了解也正在逐步加深。隨著人類社會對不同綜合材料的理解，不同的含義紛紛賦予到特定的材料之上，作為一種通過綜合材料的匯集而體現(xiàn)出來的藝術(shù)形式應(yīng)運(yùn)而生。油畫的最根本內(nèi)涵就是畫家通過對不同材料的搭配使用，傾訴自己的內(nèi)心情感，引發(fā)參觀者的內(nèi)心共鳴。人類社會對材料使用逐步加深，徹底改變了早期人類社會對單一材料的使用，賦予了繪畫這門藝術(shù)更持久的生命力，也給予了繪畫更多的藝術(shù)表現(xiàn)形式。通過各式各樣的不同綜合材料的搭配風(fēng)格，不同形式風(fēng)格的畫派應(yīng)運(yùn)而生。例如：在近代西方國家陸續(xù)出現(xiàn)的印象流派、后印象流派、野獸流派等等，這些流派的綜合材料與情感的契合都擁有著自己獨(dú)特的特點(diǎn)，這些流派的大師都擁有著出神入化的畫技和自己獨(dú)特的情感表達(dá)形式，使得他們的畫作傳承百年而不失韻味。從綜合材料在油畫之中的應(yīng)用來說，油畫在網(wǎng)絡(luò)信息化的今天，也有著新的表現(xiàn)形式。截至目前，隨著計(jì)數(shù)機(jī)合成技術(shù)的不斷提升，人類已經(jīng)可以通過使用精確的計(jì)算機(jī)合成技術(shù)，搭配出比以往任何一個歷史時期都要絢麗多彩的綜合材料組合，這是否意味著畫家的綜合材料搭配技術(shù)已經(jīng)被歷史所淘汰，計(jì)算機(jī)合成技術(shù)是否能和傳統(tǒng)的畫技相結(jié)合，也成了當(dāng)今綜合材料應(yīng)用方面需要解決的問題之一。綜合來看，如何更好地利用現(xiàn)在發(fā)達(dá)的科學(xué)技術(shù)，借用現(xiàn)在世界藝術(shù)高度交流的便利條件，更好地將情感和綜合材料契合在一起，將是現(xiàn)代綜合材料運(yùn)用的主旋律。

二、綜合材料在油畫創(chuàng)作中的運(yùn)用的內(nèi)涵

作為一名油畫畫家，要深諳各種材料所能夠帶給參觀者的視覺感受。比如：紅色可以帶給人似火的激情，綠色給人帶來生機(jī)勃勃的感覺，等等，我們可以將這些材料用巧妙的手段雜糅在一起，生成一幅讓參觀者如癡如醉的畫面。由于每一種材料在油畫畫家眼里都有著獨(dú)特的含義，在畫家進(jìn)行創(chuàng)作的過程之中，他們就可以把自己的情感通過色彩的組合巧妙地展現(xiàn)出來。通過這樣的方式，一幅畫作就不再簡簡單單的是色彩的有機(jī)組合，也不再是各種材料之間的隨機(jī)搭配，而是蘊(yùn)含著作者人生情感和哲學(xué)情懷的藝術(shù)作品。當(dāng)然，畫家實(shí)現(xiàn)情感宣泄的過程絕不是簡簡單單的事情，參觀者也難以在接觸的第一眼就發(fā)現(xiàn)蘊(yùn)含在畫作背后的深厚內(nèi)涵，這一切都需要通過人的思維去進(jìn)行深度的思考，去分析蘊(yùn)含在色彩搭配背后的深層次涵義，才能夠真正地了解一幅油畫作品背后的真實(shí)內(nèi)涵。

三、如何通過綜合材料展現(xiàn)出油畫的情感特征

（一）綜合材料與自然情感的共性

充滿神秘材料的大自然向來是畫家進(jìn)行創(chuàng)作靈感的源泉，在歷史的長廊中，無數(shù)的畫家都通過對大自然的欣賞，迸發(fā)出自己內(nèi)心靈感的火花。大自然是多姿多彩的，無論是藍(lán)天碧水，還是一望無際綠油油的草原，都擁有著自己的獨(dú)特的綜合材料，畫家在欣賞這些美輪美奐的景象之后，會情不自禁的動用手中的畫筆，把自己對大自然美的情感體現(xiàn)出來。與此同時，大自然擁有著自己的獨(dú)特的綜合材料，例如：綠油油的小草象征著蓬勃的生命力，畫家通過使用綠色的素材可以體現(xiàn)出自己對于生活的希望，讓參觀者感受到綜合材料背后的生機(jī)與活力；天空的湛藍(lán)色讓人有一種空曠的感覺，畫家通過手中的畫筆將它體現(xiàn)在畫作之上，可以抒發(fā)出畫家心中空靈的感覺，也可以讓參觀者體會到靈動的感覺，給予參觀者心靈的洗滌。自然擁有著和諧之美，古往今來無數(shù)的畫家都是在觀摩自然的同時迸發(fā)出靈感，從而創(chuàng)作出一幅幅傳世的佳作，而綜合材料又是大自然的屬性之一，每一種美輪美奐的自然風(fēng)景都擁有著其獨(dú)特的綜合材料，例如九寨溝的風(fēng)景就是各種不同材料的搭配，使無數(shù)的中外游客嘆為觀止。綜合來看，綜合材料具有與自然同在的共性，在整個人類發(fā)展史上，綜合材料都通過其獨(dú)特的特點(diǎn)，觸動畫家的心靈，進(jìn)而誕生了一幅幅優(yōu)秀的畫作。

（二）綜合材料與社會情感的共性

綜合材料不僅僅是大自然所擁有的獨(dú)特屬性，還是人類所處的社會的根本屬性之一，從原始社會開始，不同的綜合材料就被賦予了神秘的色彩，人類對于某種綜合材料的狂熱，也是那個時代的主旋律之一。隨著時代的發(fā)展，人類社會對于綜合材料的認(rèn)知越來越透徹，對于綜合材料產(chǎn)生的原理也更加了然，根據(jù)各種綜合材料產(chǎn)生的原理的不同，人類社會也賦予了各種綜合材料不同的特點(diǎn)。其中，可見光之中，紅色具有較高的能量，太陽在人類的視覺之中也呈現(xiàn)的是紅色，因此，在人類社會環(huán)境中，紅色象征著活力與激情。除此之外，綜合材料中的黃色則擁有著和最為貴重的金屬——黃金相同的材料，這也就導(dǎo)致在人類社會中，黃色成為了地位尊貴的象征，與此同時，由于黃色象征著財(cái)富，而在第一次工業(yè)革命時期，隱藏在金錢的巨大罪惡下同時又賦予了黃色奢靡暴力的象征。綜合材料的社會性特征賦予了綜合材料很多背后的內(nèi)涵，優(yōu)秀的畫家可以運(yùn)用綜合材料背后的不同含義、使用不同材料的搭配和對綜合材料濃淡的應(yīng)用，抒發(fā)自己內(nèi)心的情感，創(chuàng)作出一幅飽含自己的感情的作品。

（三）綜合材料的情感特性

所謂綜合材料的情感特性指的就是不同的群體對于綜合材料的認(rèn)知程度和引發(fā)的內(nèi)心情感是不同的，也正是因?yàn)檫@種綜合材料的情感特性，而引發(fā)了不同的畫家所創(chuàng)作的畫作其蘊(yùn)含的內(nèi)涵，需要時間的積淀才能夠被看清，這也是很多著名的油畫作品在沉寂多年之后，突然拍出天價的根本原因。除此之外，不同參觀者對于畫作的觀看也有著自己不同的認(rèn)識，這也是畫作的獨(dú)特魅力所在。

（四）綜合材料在不同環(huán)境下生活的創(chuàng)作者面前體現(xiàn)出的情感特性

在對綜合材料進(jìn)行選擇的時候，不同的生活環(huán)境也會對創(chuàng)作者的選擇造成重大的影響。例如：有些畫家在進(jìn)行創(chuàng)作的時候，使用最多的是黃色，黃色代表暴力與奢靡，這是因?yàn)樗恢鄙嬖诩堊斫鹈缘某鞘匈F族生活環(huán)境之下，產(chǎn)生了本能的對金錢的抵制。但是，在一些田園派畫家里面，金黃色的材料代表秋天的豐收，也代表了充滿生機(jī)與活力，這就與城市畫家筆下所表現(xiàn)的內(nèi)涵存在著本質(zhì)的區(qū)別。

四、結(jié)語

材料作文論文范文第3篇

關(guān)鍵詞：地源熱泵超強(qiáng)吸樹脂螺旋盤管U型管制熱系數(shù)

0前言

新能源的研究、開發(fā)和利用已經(jīng)成為世界各個先進(jìn)國家能源戰(zhàn)略的共同目標(biāo)，淺層地能作為一種可再生綠色新能源，清潔、無污染，以及其巨大的儲存量（地表淺層吸收了47%的太陽能，比人類每年利用能量的500倍還要多），已經(jīng)使得人們認(rèn)識到了淺層地能的利用價值。能夠一機(jī)多用的地源熱泵系統(tǒng)則在淺層地能應(yīng)用中日趨活躍，廣泛應(yīng)用于供暖，空調(diào)領(lǐng)域中。然而地源熱泵系統(tǒng)中埋地?fù)Q熱器受土壤性能影響較大，在連續(xù)運(yùn)行工況下，熱泵的冷凝溫度和蒸發(fā)溫度受周圍土壤溫度變化發(fā)生波動而不穩(wěn)定。為了達(dá)到換熱效果，目前大多采用垂直U型埋管，這需要鉆相當(dāng)深度的井，費(fèi)用比較高，占初投資中很大比例。針對這一現(xiàn)狀，對螺旋管和U型管在超強(qiáng)吸水樹脂與源土混合作為回填材料的情況下，進(jìn)行了實(shí)驗(yàn)研究。

1超強(qiáng)吸水樹脂及回填材料性能描述

超強(qiáng)吸水樹脂是一種吸水能力特別強(qiáng)的高分子材料，吸水率為自身的幾十至幾百倍，甚至千多倍。如Sumika凝膠S-50的吸水倍率為500~700（g/g）,在低溫（900C以下）吸水倍率基本不隨溫度變化；保水能力也非常高，吸水后無論加多大壓力也不會脫水，但會隨時間慢慢釋放水分，且具有良好的蓄熱、蓄冷能力[3]。

地源熱泵系統(tǒng)中，理論計(jì)算以及實(shí)驗(yàn)研究表明，回填材料的導(dǎo)熱系數(shù)K是決定地下?lián)Q熱效果和系統(tǒng)效率的主要因素，常溫下，回填物質(zhì)組成確定以后，對回填材料導(dǎo)熱系數(shù)起決定作用的是密度和含水率，函數(shù)關(guān)系可表示為[1]：

K=ƒ（ρ，ω）（1）

ρ——回填材料密度(Kg/m3)；

ω——回填材料的含水率(%)

如果把回填材料作為一種能量傳遞介質(zhì)考慮，它把自己儲存和吸收的能量傳給地下?lián)Q熱器以及熱循環(huán)介質(zhì)，在這個能量轉(zhuǎn)換過程中，水分起到了能量轉(zhuǎn)換和儲存的作用，所以回填材料中含水率的大小對換熱器換熱效果起著很大的作用。以下按照一定比例在源土中混合超強(qiáng)吸水樹脂作為回填材料，并采用螺旋盤管和U型管兩種地下?lián)Q熱形式，進(jìn)行實(shí)驗(yàn)研究和分析。

2試驗(yàn)系統(tǒng)介紹

實(shí)驗(yàn)臺由地源熱泵、地下?lián)Q熱器等組成，主要設(shè)備見表1，采暖空調(diào)房間面積65m2積，

實(shí)驗(yàn)共打井4口，其中1、2號井，換熱器形式采用螺旋盤管，井深6.0m，螺旋直徑1.0m，螺旋間距200mm，并設(shè)計(jì)注水裝置[2]，具體結(jié)構(gòu)圖見圖（1）；3、4號井采用U型管，井深40.0m，每套螺旋管和U型管均為管徑DN32，壁厚3mm，管長80m的PE管。整個系統(tǒng)見圖(2)。

實(shí)驗(yàn)所選地地勢相對較高，地下水位比較低（地下8-10米），土壤為非飽和態(tài)，回填之前對螺旋盤管打井源土采樣測試，土壤密度約為1450Kg/m3，土壤含水率約為18%-20%。其中1號井，采用源土回填，2、3、4號井則按照質(zhì)量比1：1000在源土中混入吸水倍率1：500的Sumika凝膠S-50超強(qiáng)吸水樹脂。整個系統(tǒng)中，在熱泵冷卻水，冷凍水進(jìn)出口，螺旋盤管和U型管進(jìn)出口管外壁以及其他不同位置設(shè)置k型銅-康銅熱電偶36組，1號和2號井熱電偶對稱布置，具置如圖（3）

3試驗(yàn)數(shù)據(jù)分析

實(shí)驗(yàn)臺搭建完畢后，測得換熱器周圍土壤初始平均溫度為21.50C,10月底開始對系統(tǒng)在制冷、制熱工況下進(jìn)行了運(yùn)行調(diào)試。調(diào)試完畢，通過注水器向1、2號井中分別注水2m3。由于環(huán)境溫度影響，首先在制熱工況下對系統(tǒng)進(jìn)行測試。

工況1：12月6日在制熱工況下系統(tǒng)連續(xù)運(yùn)行24個小時后，于12月9日至23日期間，夜間平均室外溫度100C，開啟部分或全部房間門窗，室內(nèi)溫度保持在22-240C，熱泵機(jī)組熱水出水溫度設(shè)定為最高溫500C的條件下，調(diào)節(jié)各個管路閥門，使每套管井中的流量基本相同（0.8m3/H）,分別以U型管和螺旋盤管單獨(dú)作為地下?lián)Q熱器，各自連續(xù)運(yùn)行7天，每天運(yùn)行10小時，對所測得數(shù)據(jù)進(jìn)行分析比較如下：

為定流量系統(tǒng)運(yùn)行過程中螺旋盤管不同位置處熱電偶溫度變化曲線。圖4中，混合超強(qiáng)吸水樹脂的2號井，出水管外壁溫度明顯高于1號井，且隨運(yùn)行時間的延長，1號井溫度變化大于2號井。

不同位置處熱電偶日平均溫度顯示，距離螺旋盤管外側(cè)600mm處（14#、24#）土壤溫度在測試期間，基本沒有變化，300mm處（15#、25#），溫度變化比較小，如圖5，外側(cè)100mm處（16#、26#），土壤溫度則隨時間變化明顯。流量相同的情況下，隨測試時間的延長，圖4中可以看出，2號吸熱量大于1號，周圍土壤熱量隨水分遷移，第四天開始，26#溫度降低更加明顯，16#溫度變化則比較穩(wěn)定；距離管內(nèi)側(cè)250mm(17#、27#)處，因?qū)嶒?yàn)前注水，水分滲透，起始溫度低于原來土壤溫度。運(yùn)行過程中，17#日平均溫度變化小于27#熱電偶，圖4和圖5可以看出源土中混合超強(qiáng)吸水樹脂，增大了土壤的導(dǎo)熱系數(shù)，增強(qiáng)了系統(tǒng)停止期間土壤熱恢復(fù)性能。

為U型管和螺旋盤管單獨(dú)作為地下?lián)Q熱器時換熱器總管進(jìn)出水溫變化曲線。螺旋盤管進(jìn)、出口水溫隨時間變化比U型管小。實(shí)驗(yàn)測得系統(tǒng)COPs和壓縮機(jī)COP平均值，螺旋盤管大于U型管，但兩套系統(tǒng)單獨(dú)運(yùn)行時，COP數(shù)值并不高，且連續(xù)下降，如圖7。其原因主要是由于單獨(dú)作為地下?lián)Q熱器，換熱面積小，吸熱量滿足不了系統(tǒng)要求。

工況2：12月27日至12月30日，室外平均溫度70C，關(guān)閉所有門窗，室內(nèi)溫度保持在20-230C,熱泵機(jī)組熱水出水溫度設(shè)定為460C，螺旋盤管和U型管作為地下?lián)Q熱器同時運(yùn)行，壓縮機(jī)每30分鐘開停一次，開停時間比為1：2，間歇性連續(xù)運(yùn)行50小時，取10-40小時之間測試數(shù)值

間歇運(yùn)行期間，整個系統(tǒng)比較穩(wěn)定，地下?lián)Q熱器進(jìn)、出水溫程周期性變化，并隨時間延長逐漸降低，系統(tǒng)和壓縮機(jī)制熱系數(shù)都比較高，具體見表2。相比之下，其它地區(qū)不同形式埋管如天津商學(xué)院對單層水平蛇形管冬季取熱實(shí)驗(yàn)得到單位管長吸熱量為14W/m[4],重慶建筑大學(xué)對垂直套管得到單位孔深換熱量為55.67W/m[5]。

4結(jié)論

通過供暖實(shí)驗(yàn)表明：超強(qiáng)吸水樹脂與源土混合，作為回填材料，在注入少量水的情況下，能夠很好地改善土壤的非飽和性，增大源土壤的導(dǎo)熱系數(shù)，提高了土壤的熱恢復(fù)性能，很明顯地增大了單位管長的吸熱量，適合于干旱、土壤非飽和以及地下水位比較低的地區(qū)，特別有利于螺旋盤管的應(yīng)用，可以極大地降低地源熱泵系統(tǒng)初投資，值得推廣和應(yīng)用。

[參考文獻(xiàn)]

[1]莊迎春，孫友宏，謝康和.直埋閉式地源熱泵回填土性能研究.太陽能學(xué)報(bào)，2004，25(4)：216-220.

[2]YuehongBi,LingenChen,ChihWu.GroundHeatExchangerTemperatureDistributionAnalysisandExperimentalVerification.AplliedThermeralEngineering,2002,22,183-189.

[3]鄒新禧.超強(qiáng)吸水劑.北京：化學(xué)工業(yè)出版社：1991年.9.

材料作文論文范文第4篇

[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。本文針對這種現(xiàn)象作了具體的原因分析，指出在國內(nèi)大部分中學(xué)英語教學(xué)中，閱讀材料是影響學(xué)生進(jìn)行英語文學(xué)閱讀的一個重要原因。回顧國外學(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)活動如課外興趣小組，課外閱讀活動，閱讀作業(yè)，培養(yǎng)和提高中學(xué)生英語學(xué)習(xí)能力和文學(xué)閱讀興趣。作者對為什么以及如何運(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

材料作文論文范文第5篇

論文關(guān)鍵詞：初中語文課堂教學(xué)中存在的問題及對策

 

隨著新一輪課程改革的進(jìn)行，廣大中小學(xué)校都在圍繞著改革的精神在改革的園地中進(jìn)行著一些探索。由于經(jīng)驗(yàn)缺乏等問題，初中語文的教學(xué)過程中出現(xiàn)了一些問題，值得我們共同關(guān)注。筆者就自己的發(fā)現(xiàn)談一些自己的看法和建議。

一、對新課改理念、新課程標(biāo)準(zhǔn)，學(xué)習(xí)、落實(shí)方面存在的問題

1、新課改的基本理念得不到有效落實(shí)。

新課改的基本理念是：面向全體學(xué)生，讓全體學(xué)生參與教學(xué)的全過程。我們的課堂上學(xué)生的參與面不夠，回答的人次多，發(fā)言的學(xué)生少，相當(dāng)一部分學(xué)生不在狀態(tài)，教師不督促，不引導(dǎo)，視若無睹。

2、教學(xué)中學(xué)生的獨(dú)特體驗(yàn)和多元解讀得不到有效評價和指導(dǎo)。

新課標(biāo)要求：尊重學(xué)生的獨(dú)特體驗(yàn)，尊重學(xué)生對文本的多元解讀。但當(dāng)學(xué)生的多元解讀、獨(dú)特體驗(yàn)出現(xiàn)時，教師對學(xué)生的獨(dú)特體驗(yàn)和多元解讀不能進(jìn)行合理的評價和有效指導(dǎo)，缺少教學(xué)機(jī)智和智慧。

3、對“三維目標(biāo)”的理解有偏差。目標(biāo)是“三維”的，但有核心、有重點(diǎn)，這個核心、重點(diǎn)就是知識與能力。否則學(xué)科設(shè)立將失去意義。

4、學(xué)習(xí)理念落實(shí)不講究實(shí)效。

新課標(biāo)中的學(xué)習(xí)理念是：積極倡導(dǎo)自主、合作、探究的學(xué)習(xí)方式。但教師運(yùn)用時自主缺乏，合作浮華初中語文論文，探究虛假，致使教學(xué)效果不佳。

解決對策：

1、各校要重視新課改理論和新課標(biāo)的學(xué)習(xí)，《課標(biāo)》要人手一冊論文開題報(bào)告。

2、研讀要聯(lián)系實(shí)際，要和本地、本校、本人的實(shí)際聯(lián)系。特別要重視研究本地有資源使用、本校有條件利用、本人有能力運(yùn)用的部分；能支持、幫助、改進(jìn)當(dāng)前課堂教學(xué)的部分，有利于提高教學(xué)成績，有利學(xué)生發(fā)展的部分。

3、盡快地把新課改的理念和新課標(biāo)的要求轉(zhuǎn)化為教師的課堂教學(xué)行為，落實(shí)到課堂教學(xué)中去。

二、學(xué)生個性化閱讀沒有占到應(yīng)有的地位

新課程標(biāo)準(zhǔn)認(rèn)為：“閱讀教學(xué)是學(xué)生、教師、文本之間的對話的過程。”“閱讀是學(xué)生的個性化行為，不應(yīng)以教師的分析來代替學(xué)生的閱讀實(shí)踐。應(yīng)讓學(xué)生在主動積極的思維和情感活動中，加深理解和體驗(yàn)，有所感悟和思考，受到情感熏陶，獲得思想啟迪，享受審美樂趣。要珍視學(xué)生獨(dú)特的感受、體驗(yàn)和理解。”

閱讀是最富有個性化的學(xué)習(xí)行為之一，讀者的個性心理不同，其閱讀感受和欣賞體驗(yàn)也必然不同。“有一千個讀者。就有一千個哈姆雷特”，同樣的作品由不同的人解讀，可以有截然不同的感悟。對中學(xué)生來說，閱讀的作用尤顯重要。但是，長期以來，在應(yīng)試教育的指揮棒下，學(xué)生的閱讀變成了純功利性的閱讀，它以終極的意義解讀為目標(biāo)，以傳授知識、應(yīng)付考試為軸心，追求現(xiàn)成、確定的知識。不少教師死守教條，照搬照抄《教學(xué)參考書》上的說法，不敢越雷池半步。語文閱讀教學(xué)過分強(qiáng)調(diào)共性，扼殺了學(xué)生的個性，使學(xué)生成為一個張開口袋等待灌注知識的回收站。

分析與對策：細(xì)心傾聽，延時評價，激勵學(xué)生閱讀的創(chuàng)新精神。古人云：“學(xué)貴有疑。”“小疑則小進(jìn)，大疑則大進(jìn)。”思考的核心是創(chuàng)新。《語文新課程標(biāo)準(zhǔn)》強(qiáng)調(diào)“要逐步培養(yǎng)學(xué)生探究性閱讀和創(chuàng)造性閱讀的能力，提倡多角度、有創(chuàng)意的閱讀”。為此，教師不應(yīng)以絕對權(quán)威的角色主宰課堂的局面，而應(yīng)摒棄“滿堂灌”、“一言堂”的教學(xué)方式，真誠地成為學(xué)生閱讀活動中的合作伙伴，為學(xué)生營造一個寬松、和諧的閱讀氛圍初中語文論文，要學(xué)會傾聽，激勵學(xué)生勇于表現(xiàn)自我，大膽創(chuàng)新，大膽張揚(yáng)自我的個性，發(fā)表自己的見解。對學(xué)生發(fā)表的見解，應(yīng)給予延時性的評價，因?yàn)檫@種評價方式既可為學(xué)生準(zhǔn)確理解文本內(nèi)容提供情感上的支持，又可給那些異彩紛呈的答案預(yù)留更為廣闊的空間。

三、課堂提問主體固定，忽視“學(xué)困生”

經(jīng)常聽學(xué)生抱怨“老師從來不叫我，總叫喜歡的那幾個學(xué)生回答問題”。從這些抱怨中我們可以看出學(xué)生的不滿和挫折感。僅提問幾個成績好的學(xué)生的教師給了班級大多數(shù)成員一個消極的反應(yīng)——我學(xué)習(xí)不好，老師不喜歡我，也不會關(guān)注我。久而久之，這些學(xué)生對學(xué)習(xí)越來越?jīng)]興趣，在課堂上開小差，從而導(dǎo)致集體斗志的喪失。還有很多教師對“學(xué)業(yè)不良”的學(xué)生表現(xiàn)出強(qiáng)烈的偏見。例如，教師等待他們回答花的時間短，沒有給他們提供反饋，很少注意他們。但是，當(dāng)某個學(xué)生開小差了，教師冷不丁地提起來讓其回答某個問題，即提懲罰性問題。這樣不利于教師的教學(xué)，不利于學(xué)生的學(xué)習(xí)，而且還很容易使師生關(guān)系僵化。

分析與對策：研究表明，教師的偏見會使學(xué)生的成績存在顯著差異。點(diǎn)那些積極的學(xué)生的意圖是因?yàn)樗麄兛梢越o出正確的答案，而使教師看起來是一個很有效率的教學(xué)。這種情況在公開課時表現(xiàn)得更明顯論文開題報(bào)告。但是，假若教師想讓每一個學(xué)生都成為成功者的話，就應(yīng)該給他們每個人以同等的機(jī)會。使他們每一個人都能感受到成功的喜悅，從體驗(yàn)成功中熱愛學(xué)習(xí)。提問要面向全體，切忌針對個別學(xué)生或部分學(xué)生。我一直認(rèn)為應(yīng)該先提出明確的問題，再找學(xué)生回答。這樣做，可以讓全體學(xué)生都參與到課堂教學(xué)中來，從而使班級的全部或大部分學(xué)生集中精力，

四、作文教學(xué)存在一些問題

（1）隨意性大，體現(xiàn)為作文命題的隨意，指導(dǎo)的隨意，評改的隨意；（2）生活積累意識欠缺初中語文論文，對生活只是照相式的觀察，不重視引導(dǎo)學(xué)生對生活的感悟和引導(dǎo)學(xué)生進(jìn)行審美的觀察，割斷了語文與生活的鏈條；（3）漠視學(xué)生基本的思維訓(xùn)練，缺乏對想像力、思維敏銳性的培養(yǎng)；（4）批改方式單一，效益低；（5）部分教師自身寫作素養(yǎng)差。

分析與對策：我們的老師應(yīng)正確把握作文教學(xué)。作文教學(xué)是語文教學(xué)的難點(diǎn)之一。新課程強(qiáng)調(diào)語文與生活的聯(lián)系，為提高作文教學(xué)的質(zhì)量創(chuàng)造了條件。作文教學(xué)的重點(diǎn)應(yīng)放在材料、立意、情感和語言四個方面。要指導(dǎo)學(xué)生學(xué)會感悟生活，引導(dǎo)學(xué)生進(jìn)行審美的觀察，在生活中去積累、篩選寫作的材料。作文教學(xué)要對學(xué)生進(jìn)行基本的思維訓(xùn)練，教給學(xué)生思維的基本方法，如：想象和聯(lián)想、發(fā)散思維、逆向思維、比較思維、整合思維、抽象思維等，提高學(xué)生的立意和謀篇布局的能力。要鼓勵學(xué)生在作文中抒發(fā)真情實(shí)感。

作文的批改方式要多樣化，如：學(xué)生互批互改、面批、朗讀比賽等。評語要避免老師寫得多，學(xué)生看得少，面面俱到，流于形式。

所以，只要老師們在探索新教法的征程中，多學(xué)習(xí)，多借鑒，多反思，就一定可以多避免一些問題。這樣，我們的教學(xué)就會更得法了。