少兒文學論文精選(九篇)

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第1篇：少兒文學論文范文

本文作者：張燕作者單位：廣東外語藝術職業(yè)學院中文系

搭建其交流平臺，增強漢語閱讀教學的活力

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

回歸其審美特質(zhì)，促進作文教學難點問題的解決

學生怕寫老師難教，因而寫作教學不僅枯燥而且低效。學生為什么“怕”呢？一是寫不出來；二是“寫不好”。其實兒童文學可以幫師長們找出原因與方法：“寫”不為心聲，不是自然而為的，所以寫不出；“好的評價”來自成人標準，不是孩子能理解的，所以寫不好。要解決寫不出的問題，其實教師們首先要像兒童文學作品一樣回歸兒童的世界，了解他們的心智與情感特點，提出合理的寫作要求：寫心聲，語言自然（稚拙）。對于還“寫”不出心聲的第一學段的學生“說”出心聲，其實已是“寫”了。這其實就體現(xiàn)了李吉林老師所說的“提前起步”的作文教學理念的“提前”了，這種“提前”是教師對作文教學的意識提前，為第二學段的作文教學做好鋪墊，并不是簡單地將三年級的作文寫作要求提到二年級甚至一年級下學期，使不少學生在這種要求的壓抑下寫不出作文來。隨著年齡的增長，書寫困難的解決，學生或急中生智或背水一戰(zhàn)，“寫不出”的問題會得到緩解，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，其中不少的作品我們用兒童文學的審美特質(zhì)去評判，則充滿童真之趣。比如，有一個孩子寫自己學琴時等待老師時的無聊心情，他不斷地如實重復敘述他看到一個又一個學生來了，爬上樓梯，老師還沒來，只好在走廊等，這樣重復敘述了三四次。當然老師的評語是“重復啰嗦，應寫出每個同學不同的細節(jié)?！边@樣的要求其實等同于福樓拜對莫泊桑的要求。站在非語文教師角色讀這段文字：第一次敘述覺得“平”；第二次感覺“煩”；第三次有點想笑；第四次忍俊不住。回味整個片段很有荒誕派小說關于“無聊”情緒表現(xiàn)的藝術效果。教師們重溫一下兒童文學的審美特質(zhì)“純真、稚拙、歡愉、變幻、樸素”，[7]就會發(fā)現(xiàn)有不少孩子的習作是寫得很不錯的。由是作文的問題，還不不僅是“分”的問題，還來自于成人對兒童的了解與尊重的問題———以適合孩子的標準判斷他們的行為，包括寫作活動，這樣才能較好地解決作文教學的問題。對于孩子們來講，有趣的語文課堂才會有效。兒童文學是孩子們的文學，他們喜歡它。教師有責任與義務在語文學習中讓孩子們讀自己喜歡的書，說自己想說的話，寫自己能寫的語言。

第2篇：少兒文學論文范文

在傳統(tǒng)鋼琴教學中，存在著重技術、輕美感的不足，在培養(yǎng)少兒對音樂美的感知能力方面，有意識的訓練相對比較缺乏。教師在授課過程中，往往以要求學生彈奏技術動作規(guī)范與準確，以及通過反復訓練以獲得技能水平的不斷提升為重點。少兒階段的學生，大多生性活潑好動，不容易建立穩(wěn)定的學習興趣，如果教師不去有意識地引導他們?nèi)グl(fā)現(xiàn)、感受音樂的美，只是一味強調(diào)技術訓練，孩子們在面對日復一日反復枯燥的單純技術性練習時，不但體會不到學琴的快樂，還很容易失去學習興趣。隨著鋼琴教育在我國的普及，讓來自不同家庭、不同興趣，具備不同能力的學生都能夠通過鋼琴的學習獲得藝術素質(zhì)的提高，是越來越多家長追求的目標。在鋼琴教學中，如果在技能訓練基礎上，教師能采用更為合理、有效的教學策略對學生進行審美能力的培養(yǎng)，相信可以幫助學生獲得感知、體驗、理解音樂美的能力，從而達到這一目標。

二、少兒鋼琴教學策略

(一)目標策略

目標策略是指在教學活動中，教師要建立正確的價值取向，明確藝術教育的目標，為所進行的教育活動樹立正確的方向。作為美育的一種，藝術教育的目標是使人變得更富于創(chuàng)造力。在鋼琴教學中，模仿是必然的，而模仿是促進還是阻礙了創(chuàng)造的產(chǎn)生，這直接受制于教師的價值取向———教師將學生的活動作為自我表達的方式還是僅為模仿?我們強調(diào)藝術教育要重視自我表達，自我表達是學生根據(jù)現(xiàn)有經(jīng)驗(認知、審美、情感的經(jīng)驗)來表現(xiàn)，模仿是擴大經(jīng)驗的一種途徑。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，學生可以按自己的方法去表達，在這個過程中，獨立思考的能力、創(chuàng)造力都得到了發(fā)展。教師在進行技術訓練的同時，要重視學生潛能素質(zhì)的培養(yǎng)，多讓他們欣賞不同類型和風格的作品，體驗作品傳遞的情感，提升美感經(jīng)驗，同時要用生動的語言幫助分析旋律所蘊含的情緒與思想，充分感受音樂的內(nèi)涵，啟發(fā)創(chuàng)造性思維，并在彈奏中將對音樂的感受通過自我的方式表達出來。當在此過程中出現(xiàn)一些自我的、具有一定創(chuàng)造性的東西時，教師應該給予鼓勵，并引導學生去探索發(fā)現(xiàn)其新的價值，而不是一味地呵斥，把學生變成缺乏想象力和創(chuàng)造力的“唯命是從”的學習機器。當然對于出現(xiàn)的各種“創(chuàng)新”，教師也要引導學生選擇性地進行有價值地取向，否則在無謂創(chuàng)新的同時會失去很多原本存在的美好東西。

(二)轉(zhuǎn)化策略

指在教學活動中，教師需要轉(zhuǎn)換固有的教學觀念和思路，重視幫助學生建立穩(wěn)定的學習興趣。在當今鋼琴教育中，單純的技巧訓練不是最終的學習目的，對于少兒學習者而言，更多時候需要培養(yǎng)其對音樂美的感受、體驗和表現(xiàn)能力。如果在學習中花大量時間進行手指練習和解決技術難題等一些枯燥的內(nèi)容，學生的好奇心就會被磨滅，學習興趣根本無從談起，因此，我們應多采取啟發(fā)、引導的方式進行教學。彈奏前，教師要用比喻、講故事等形式啟發(fā)學生挖掘音樂內(nèi)容，幫助他們在腦海里勾勒出形象或畫面;彈奏時，要引導學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”，使每一個樂句從頭到尾都是感情充沛的;布置作業(yè)時，可以將新作業(yè)進行故事化的講解和有表情的示范，以增加學生的學習興趣。平時可以引導學生多聽磁帶、唱片等，有條件的直接觀看音樂家的指揮、演唱或演奏，此類觀摩活動可以讓學生直接感受音樂魅力，并極大地激發(fā)學習興趣;可以去野外觀察人與自然，所有的事物都會在腦海中留下美好的記憶，當他們在彈奏時，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行學習，會使學生身心愉悅，興趣大增，不僅在無意識狀態(tài)之中就進行了有效學習，而且還有利于幫助其穩(wěn)定學習興趣。

(三)匹配策略

指教師在教育過程中采取的教學方式要與學生喜愛或擅長的學習方式相適應，使學生能夠發(fā)揮個人在學習方面的優(yōu)勢，達到預期的教學目標。在教學活動中，教師采取的教學方式是否與學生的學習方式相適應，取決于相互的認知風格是否匹配。針對學生認知風格的長處實施與之相一致的教學風格，稱為匹配策略;針對學生認知風格的短處進行有意識的引導和彌補，稱為失配策略。由于學生受到不同的遺傳、家庭、個人等因素的影響，各人的發(fā)展存在客觀差異。作為教學中的兩個主體，一方面，教師需要了解并針對不同學生的認知風格調(diào)整教學策略，與之保持匹配;另一方面，學生要了解自身認知風格上的不足和缺陷，全面提高自身的能力。設計教學活動時，教師應考慮到學生接受信息時在感覺通道方面的個體差異，避開學習方式上的弱點或影響學習效果的因素，引導學生掌握并運用有利于自己的方式來學習。例如，在面對學習認真但缺乏創(chuàng)新意識和表現(xiàn)力的學生時，引導他們在相同的內(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;在面對接受力和表現(xiàn)力很強，但缺乏刻苦精神的學生時，要引導他們細致觀察，先說出自己對音樂的感知和理解，再動手進行有表情、有感情的表現(xiàn)。每個人(包括教師自己)都有適用于自己的學習方式，教師要意識到適合自己的學習方式不一定適合他人，要注意避免教學的主觀化傾向，盡量采用與學習個體相匹配的方式進行教育。采取匹配策略進行教學，針對性強，能達到優(yōu)化教學的效果。失配策略在一定程度上也可以對教學活動起到促進作用，但需要注意的是這種策略在前期會對學生造成一定的困擾，尤其針對學習的自覺、自控能力并不成熟的學生，可能會覺得無所適從，因此不宜經(jīng)常采取失配策略。

(四)評價策略

評價策略是指通過正確掌握評價尺度，構建合理的評價標準，引導學生平衡學習心態(tài)，明確學習目的和方向，激發(fā)和維持學生的學習動機，逐步走向成功。學生必須志于學、樂于學，才能取得優(yōu)良的成績，教師的工作就是引導、幫助學生取得成功，而學生的成功往往源于教師的鼓勵。在教學中，教師要學習贊賞學生的獨特性、愛好、專長;贊賞學生付出的努力和表現(xiàn)的善意;贊賞學生對教材的質(zhì)疑和對自己的超越。每節(jié)課以鼓勵、肯定為主，針對不足部分進行講解時，先肯定優(yōu)點，再提出要求。這種激勵性評價有益于學生樹立信心，積極進取。鼓勵或批評，都是為實現(xiàn)某一目標而實施的手段，鼓勵是增加動力，批評是增加壓力，在教育中這兩點都是需要的。對于缺乏自信的學生，要抓住點滴進步進行表揚和鼓勵，可以激發(fā)其學習動力;對于能力強、容易驕傲自滿的學生，要在肯定的基礎上，指出缺點和不足進行批評，鞭策其向更高的目標努力奮進。不論鼓勵或批評都會使學生的心理發(fā)生變化，作為教師最重要的就是根據(jù)學生的不同情況，掌握好評價的尺度，使評價成為有效教學的杠桿。在針對學生的彈奏進行評價時，教師還要特別關注評價的標準。我們不應該以“像不像”來評價每個學生的藝術創(chuàng)造和表現(xiàn)，而應該更多地關注學生體驗其經(jīng)驗和表現(xiàn)的程度。學習鋼琴彈奏的主要目的就是提高鑒賞音樂美的能力，增強對音樂美的理解和表現(xiàn)，教師需要了解學生的學習特點，才能保護好每一個學生的表現(xiàn)欲望，通過正確合理的評價促使學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、結語

第3篇：少兒文學論文范文

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

[摘要] 當前中學所普遍存在的英語文學閱讀狀況是:學生閱讀是為了完成老師布置的任務和應付考試。當閱讀滿足他們的這些任務后，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)大部分中學英語教學中，閱讀材料是影響學生進行英語文學閱讀的一個重要原因?；仡檱鈱W者在這領域所做的理論和實踐研究，提出把青少年文學的特點和中學生所處發(fā)展時期的各方面的需求結合加以分析，采用把青少年文學作為課外閱讀材料這一教學方法。我們通過一系列的教學活動如課外興趣小組，課外閱讀活動，閱讀作業(yè)，培養(yǎng)和提高中學生英語學習能力和文學閱讀興趣。作者對為什么以及如何運用青少年文學讀物作為新型課外閱讀材料以培養(yǎng)學生的興趣和情感進行初步的討論， 以此引發(fā)更多的討論。

[關鍵詞] 閱讀興趣;閱讀材料;文學閱讀;青少年文學;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標. [J] 北京。首都師范大學 2004.

[3] 王初明. 外語學習中的認知與情感需要. [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 首都師范大學學報 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：少兒文學論文范文

我還記得當年站在成都金牛賓館禮堂的領獎臺上的那個情景，那是2011年7月10日，陽光飛揚劍橋國際少兒英語明星學員大賽西南地區(qū)頒獎典禮在成都金牛賓館禮堂隆重舉行。當主持人宣布獲得陽光飛揚劍橋國際少兒英語明星學員大賽西南地區(qū)一等獎的王子傲上臺領獎時，我興致勃勃地走上領獎臺，陽光飛揚董事長蔣孝彬先生親自為我頒發(fā)了榮譽證書、獎牌、獎品及鮮花。我右手捧著榮譽證書和鮮花，左手拿著屬于我的獎牌，前面是一個免費游學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。我高興的簡直就要跳起來了，因為，我可以去我的夢想學堂清華大學游玩。

這次我能獲得西南地區(qū)英語比賽一等獎，是我平時刻苦努力學習英語，經(jīng)過為時三個月、歷經(jīng)初賽、復賽、決賽三個階段的艱辛努力的結果。雖然，我取得如此成績，只是我在學習英語中邁出了第一步，有了一個良好的開端，我還要繼續(xù)努力，爭取一定要奔向清華大學。

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，從而導致答題錯誤。特別是當題目問表達方式、寫作方法和修辭手法時，經(jīng)常是問此答彼，怎樣區(qū)別它們呢？

表達方式，是指寫文章時所采用的反映社會生活、表達思想感情、介紹事物事理的方式手段。常用的表達方式有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，是指在文學創(chuàng)作中塑造形象、反映生活所運用的各種具體方法和技巧。包括：對比、象征、托物言志（托物喻人）、欲揚先抑、襯托（烘托）、夸張諷刺、借景抒情、前后照應等。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：少兒文學論文范文

“關于紐伯瑞獎,我們知道得越來越多”

由首都師范大學外國語學院舉辦的《美國紐伯瑞青少年文學金獎作品研究》研討會日前在京舉行。研討會圍繞該書出版的意義、我國青少年文學研究的現(xiàn)狀以及如何加強國內(nèi)學術研究與出版交流等話題展開討論。

由河北少兒社出版的《美國紐伯瑞青少年文學金獎作品研究》是目前為止惟一對紐伯瑞獎進行集中評介的論集,也是一個了解美國的青少年文學的窗口。該書主編、首都師范大學副教授王小萍介紹說,在大學英語教學的過程中,她對英語青少年文學產(chǎn)生了興趣,并逐漸將關注點集中在紐伯瑞獎獲獎作品上,因為這個獎項代表了美國兒童文學的一種趨勢。她提到,在紐伯瑞獎作品研究過程中,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,但還是沒能夠進行全面的研究,有些作品只能舍棄。

第6篇：少兒文學論文范文

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

二十世紀中后期,電視、網(wǎng)絡等電子媒介興起并開始深刻影響社會的方方面面。在享受電子媒介為我們創(chuàng)造的各種便利的同時,一些困擾也縈繞在了我們的身邊。在經(jīng)濟利益的驅(qū)逐下,收視率、收聽率、點擊率、發(fā)行率、上座率紛紛追高,由此帶來的問題是全民皆娛樂,社會整體浮躁。人們越來越習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。美國的媒體文化研究者和批評家尼爾?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)裥睦?、社會風氣、人生觀和價值觀的樹立等方面帶來的負面效應已經(jīng)日益顯見。在這樣的時代背景下,兒童和青少年的教育也不無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動力學過程,將每個人裹挾其中。于是,媒介文化變成我們當代日常生活的儀式和景觀?！蔽覈胁簧傥膶W批評家和理論家已就媒介和媒介對文學的影響展開研究。歐陽友權指出:在數(shù)字化媒介的強勢覆蓋下,“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空間,萎縮了文學消費的讀者陣營。

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人的童年經(jīng)驗出發(fā),認為電子媒介對當今兒童的影響是巨大的。首先,兒童面對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知圖式和認知心理,從而使其童年體驗發(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。在印刷文化時代,兒童的社會化更多的是依賴讀書和學校教育,而電子媒介的興起構成了教育的挑戰(zhàn)力量,電子媒介在學校教育和家庭教育之外參與了兒童的社會化過程。

作者對兒童所處的境況深感焦慮,通過閱讀西方學者論著發(fā)現(xiàn),雖然他們在探討電子媒介對兒童的影響和對文學的影響方面有著相當?shù)纳疃群蛷V度,但媒介與兒童特別是和兒童文學內(nèi)在或外在之聯(lián)系的研究還存在空白地帶。國內(nèi)當代文學批評界和文化研究專家對電子媒介對于兒童和兒童文學的影響也缺乏研究。作者深刻洞察并敏銳地捕捉到了這一空白,勇敢而自覺地擔綱此課題,并希望以此拋磚引玉,引發(fā)更多學者對這些問題的思考。

這部論著的思路很清晰,其基本觀點是: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起來并得以確認的,電子媒介時代的到來,兒童教育文化和印刷文化都遭到了電子媒介文化的解構,童年生態(tài)遭到破壞。面對童年的這種危機,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面影響,達到呵護童年和捍衛(wèi)童心的目的。兒童文學作為兒童文化的一部分,在電子媒介所導引的商業(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,才能使兒童文學成為呵護童心、捍衛(wèi)童年的兒童文化。

第7篇：少兒文學論文范文

關鍵詞：語文教學；課外閱讀；指導方法

課外閱讀是語文學習的重要途徑。對小學生來說，做好課外閱讀，不僅可以大大拓寬學生的視野，提高語文能力，還可以豐富學生的人文涵養(yǎng)，塑造良好的品質(zhì)和健康的人格。許多作家、學者成功的經(jīng)驗表明，語文素養(yǎng)的提高，大都得益于大量且廣泛閱讀。新課標第一次規(guī)定了小學生課外閱讀量，并提出閱讀速度的要求。這是對語文教育改革的一次突破，對小學語文教學有著較好的指導作用。因此，教師必須把指導學生課外閱讀作為教學的一項重要任務。下面我想結合教學實踐，談談怎樣指導小學生課外閱讀。

一、營造良好氛圍，激發(fā)小學生課外閱讀的興趣

披文而入情，讀書重在激情。我們要營造良好的讀書氛圍，使學生受到情感的陶冶。一個喜歡閱讀的教師更容易帶出一批喜歡閱讀的學生。教師首先要在教學中利用一切適當?shù)臋C會營造良好氛圍，激發(fā)學生對課外閱讀的興趣。如在教學《福爾摩斯的推斷》時，我發(fā)現(xiàn)學生對福爾摩斯特別佩服，就不失時機地讓學生去收集、閱讀有關福爾摩斯的文章。學習了《嫦娥奔月》后，讓學生收集如《開天辟地》《女蝸補天》等許多中國古代有名的神話故事。這樣有目的的進行課外閱讀，既能增強學生對課外閱讀的興趣，又能提高他們n外閱讀的質(zhì)量。

班級讀書會也是小學生在學習伙伴間形成課外閱讀的氛圍重要形式，主要做法是：先引導學生用一段課外時間讀一本教師或同學推薦的書，然后用一個集中的時間由同學和教師共同對該讀物自由討論，也可以交流一些同學的讀后感等。可以讓閱讀成為游戲一樣的童年生活。

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

二、引導小學生選擇合適的課外讀物

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

小學生都具有好奇心強、好表現(xiàn)的心理特點，比較渴望神秘、冒險、刺激，仰慕機智、勇敢、轟轟烈烈等。同時，小學生的認知水平、接受能力都有限。根據(jù)這些特點，我精心挑選學生喜聞樂見的經(jīng)典兒童讀物，如《海底兩萬里》《木偶奇遇記》《吹牛大王歷險記》，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)典兒童文學書籍既是符合兒童心理和認知發(fā)展水平的課外讀物，又能促進他們完美地發(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、指導小學生掌握正確的閱讀方法

張之洞曾經(jīng)說過：“讀書不得要領，勞而無功。”小學生課外閱讀個體性強，隨意性大，受控因素小。因此教師要指導學生學會閱讀方法，培養(yǎng)良好的閱讀習慣。

1.加強課內(nèi)外溝通，拓寬閱讀渠道

首先，我們要充分利用教材，指導閱讀方法，拓寬閱讀渠道。在教學實踐中，我經(jīng)常以課本為出發(fā)點，有計劃地拓展學生的閱讀視野，拓寬學生的知識面。如，教學《新型玻璃》前，布置學生翻閱與課文相關，相近的文章、資料等。學生遨游在知識的海洋里，學習興趣大增，課堂上競相發(fā)言。如有的同學說：“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。”有的同學說：“我想讓每戶人家都裝上一扇智能門鎖。把家庭每個成員的相貌、聲音、指紋等信息輸入電腦，它就能輕而易舉地識別出來，只要主人觸摸門鎖，它便自動打開，對其他人則不理不睬。”各種有創(chuàng)意的構想如汩汩泉水涌出。學生在課堂學習的基礎上，再讀讀原汁原味的作品或類似的書，使知識縱橫溝通。

2.根據(jù)不同文體，進行分類指導

各種課外讀物的閱讀方法是不同的，應根據(jù)不同的文體，采用不同的閱讀方法。我根據(jù)小學生的年齡特點，從怎樣閱讀連環(huán)畫、童話、寓言、故事、小說、科普讀物、優(yōu)秀作文和少兒報刊進行分類指導。如指導學生讀少兒報刊，運用瀏覽和細讀兩種方法。指導學生拿到報紙先統(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讀。還教給學生根據(jù)專題收集資料剪貼、寫摘要、做卡片的方法。

四、培養(yǎng)小學生良好的閱讀習慣

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

1.訓練讀書用眼的習慣

減少眼動次數(shù)，逐步擴大閱讀視野，縮短注視字詞時間，減少回視，這樣既提高閱讀的準確性，又能提高讀速，形成默讀習慣。

2.訓練閱讀時用腦的習慣

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―時間―地點―事件―中心思想。每次，拿到記敘文的閱讀材料時，邊讀、邊思、邊記這些要點，達到理解記憶。

3.訓練“不動筆墨不讀書”的習慣

第8篇：少兒文學論文范文

有人說:讀書是苦的累的。作為學生,不僅要學習許多知識點,閱讀大量中外名著,甚至有時會被老師“教育”一番?？晌艺J為,讀書是快樂的。下面給大家分享一些關于讀書高三議論文2020范文，希望對大家有所幫助。

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《且聽風吟》，說是讓我感受村上的文風。我是一個感性多一點的欠理性的生物，故往往對文字優(yōu)美的作品情有獨鐘，少些大家級別的思想深度無關緊要。一觀此書名，心生一股欣賞的沖動。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，書中簡單的文字風格著實磁鐵般的深深地吸引了我。

莫名的感動之余，借了本村上的《挪威的森林》。閱前的我曾是一個不擇不扣的樂天派，認為世界是美好的，活著是幸福的?？勺韵崎_《挪威的森林》的扉頁起，內(nèi)心愈發(fā)迷惑，愈發(fā)壓抑得無法呼吸。合書后的心情自是可見：除對村上淡淡的筆調(diào)的認可外，剩下的便是因主人公不算可歌可泣卻絕對悲烈的經(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，或許這關系本末倒置也應無可厚非吧，又有誰能知哪個是毒藥呢?又或許本不應稱解毒藥，誰又能保證不會因《挪威的森林》一般的人或事而再次中毒呢?

若我們在悲觀與樂觀中來回搖擺而渡過一生時，的悲哀也就降臨了。這也就是常說的缺乏堅定的信念。樂觀是一種信念，悲觀亦是。不同時期從兩者不斷切換時，信念便被舉棋不定的猶豫而代替了，風格亦隨之消失了。如此，我們就可被代替，存于世的價值便會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，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方向堅定走下去，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)，自己離起點只有一步而已。其實在十字路口的迷失不是因選錯方向，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)心應未真的感動，只是暫時的感染而已。過段時日，其所中之“毒”便被其他書籍給解了。如此反復，其顆粒無收，書讀越多，越是迷惑，空付(負)了時間。

讀書之正道，依愚之見，當是精貴于多。此精有兩層涵義：一，書本的可讀性高;二，讀者對書中所闡釋的內(nèi)容完全理解(關于贊同與否，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，書籍是人類進步的階梯。生活里缺少了書籍，就好像大地沒有太陽;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。”我對書算是情有獨鐘。我喜歡倚在書架旁嗅著金檀木的清香，輕輕拂開一頁頁的書，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，看到了那科學頂峰的燦爛，在其中體驗知識的真諦，科學的美麗，在知識的海洋中遨游;在《老人與?！分?，我看見一個老人同鯊魚的斗爭，力量雖然薄弱卻又如此強大，在那濁浪排空的海域中，我理解了老人對海的不屈斗爭……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間加緊學習，才成了中國的先鋒。因此，讀書也是要靠頑強的毅力的。

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

孤獨時，書是益友;煩悶時，書是敞開的窗戶;陰霾時，書是燦爛的陽光……

書，我的好朋友。

讀書高三議論文范文3書籍是人類進步的階梯。

讀書破萬卷，下筆如有神。

書讀百遍，其義自見。

讀書，是為了讓我們增加知識量，是為了讓我們學到課本之外學不到的東西，擴充我們對其他知識的補充，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，其實也不難，你去選取圖書時，先明白，你想讀那一類的書，如歷史，文學，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。當然了，這只是我的個人觀點。

下方，我們要關注另一個在讀書時要意注的問題，那就是，保護好自我的眼睛。為什么在學校，往往都是學習好的戴眼鏡，學習不好的反而不帶了呢，不是因為學習不好的就不看書了，因為他們的看書時間短。那有人就該說了，“雖然我近視了，但我的知識量比他多，還是我好。”但往往這種人反而是錯的，知識量不夠，能夠慢慢補充，畢竟時間還很長。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，你的一些理想就會灰飛煙滅。在看書時，在注意時間的把握，這本書就算再吸引你，你也要把握時間，雖然多多看書有好處，但沒有個度也是不行的。還有就是看書時的姿勢了，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，我們肯定會為書中搞笑的情節(jié)而哈哈大笑，也會為了一些凄涼，悲慘的情節(jié)，而默默流淚。在讀書時，我們的表情是千變?nèi)f化的。隨著社會的加速發(fā)展，人們對書的要求也是越來越高。而我對書卻沒有什么要求，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，都能夠為我們帶來知識。文學類的，帶領你走進詩歌、散文的王國。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胞……書，都是好的，記住吧，讀書只會讓自我更上一層樓，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，讀后要細細品味，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個故事，第一個故事《親愛的笨笨豬》中的笨笨豬雖然笨，但是它誠實、善良，因此小動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;第三個故事《沒有尾巴的狼》中的狼被一個小孩陶陶所感化，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誠實、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)，一個人讀書時，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，被作家筆下的動人故事所感動，會為其悲，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養(yǎng)，從而使自我精神不斷升華，文學素養(yǎng)不斷提高。

書中自有黃金屋，書中自有顏如玉。在我還不識字時，媽媽就常常給我講《格林童話》和《安徒生童話》中的小故事，從那時起我就被書中的故事所吸引，對書充滿了向往;當我背起書包上學時，我就開始看自我喜歡的書了;隨著年齡的增長，老師推薦我們看更多的好書。這讓我能時常融入書中，體會書香的獨到之處，更重要的是讓書成為了我成長中不可缺少的必需品，讓書香時刻點綴著我的生活，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!書會是我永遠的朋友，它會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)百年來無數(shù)聰明才智的載體，它記錄著人類記幾十年的知識教訓。隨著社會發(fā)展，社會上形形的書卷也日益繁多。當我應對如排山倒海般襲來的“書山書海”，不禁會想，我們?yōu)槭裁醋x書。

高爾基說過“書籍是人類進步的階梯?！比藶樯妫瑸榱丝紝W，拼命的讀書，有人甚至說書籍是生計的敲門磚，有了事業(yè)即可不要書。對于這一觀點，我不敢茍同，正如培根所說，“讀史使人明智，讀詩使人靈秀，數(shù)學使人周密，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。我認為，讀書的真正目的應是以下四點：

第一，讀書讓人獲得知識。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，獲得淵博的學識，也讓人們得到學位和工作，這些無足輕重的“副產(chǎn)品”。這一層的讀書只是為了生活和學識。不可否認，知識的獲得也是十分重要，畢竟“熟讀唐詩三百首，不會作詩也會謅”嗎?

第二，讀書讓人提高修養(yǎng)。

閱讀一本好書，正如同一位知識淵博的學者談話，“他”的語言中無不閃爍智慧的火花，無不傳答著高尚的修養(yǎng)，從一本書中學到的修養(yǎng)，提高的品格，遠比在生活磨礪中體會的深刻，體會的徹底。正如林語堂所說的如果讀者獲得書中的“味”，他便會在談吐中把這種風味表現(xiàn)出來，如果他的談吐中有了風味，他在寫作中免不了會表現(xiàn)出風味來。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，限制于空間與時間的連鎖中，當他只能同身邊的交談，他的認識是膚淺的，他的學識是簡陋的。但當他打開一本書，時間，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，他能夠體會古戰(zhàn)場上“馬作的盧飛快，弓如霹靂弦驚”的宏大，能夠體會大草原上“風吹草地牛羊”的生機;能夠體會黃昏下“枯藤老樹昏鴉，小橋流水人家”的憂;能夠體會“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，他的視野也不會只存在于一省，一市，一縣，一國而是整個宇宙整個空間。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，對于明白事理，應是十分重要的吧。

第9篇：少兒文學論文范文

你聽到了新年到來的腳步聲嗎？匆匆的！自信的?。〖で榈模。?！

每逢辭舊迎新之際，人們總會回顧光榮，馳騁夢想。

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審四星創(chuàng)建的中心，“以評促建”，不斷硬化教學設施，深化

辦學內(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。開設了“艷陽天”心理咨詢中心。開通了圖書電子化管理系統(tǒng)。

教師專業(yè)成長成績喜人：“忠誠教育，熱愛學生，傳承文明，完成使命，崇尚榮譽”的核心價值觀深入人心。4位老師在省級以上賽課中獲得一二等獎各兩個，學科涉及語文數(shù)學物理化學。1位老師獲評江蘇省優(yōu)秀教育工作者；1位老師獲評南通市園丁獎，2位老師獲評南通市優(yōu)秀教育工作者。1位老師入選南通市名師培養(yǎng)第一梯隊預備隊，1位老師被遴選為“南通教育：廿一世紀的二次詮釋”系列叢書《高效課堂：模式與案例》主創(chuàng)人員、“江蘇優(yōu)質(zhì)教學資源”研發(fā)創(chuàng)作團隊主講教師。4位老師獲評如皋市優(yōu)秀教育工作者，1位老師入選感動如皋教育十大人物，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年度中小學主題班會課現(xiàn)場課比賽高中組一等獎；劉書梅等6位老師獲得南通市語言學會2009年學術研討會優(yōu)秀論文一二等獎；丁曉燕獲如皋市“教育人生”征文一等獎。李玉俊、鄭曦媛獲如皋市“教育人生”書畫一等獎；程曉龍獲“萬城淺水灣”杯電視歌手大獎賽一等獎。