Thinking That Reading Su Shi Pricing

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Ahad
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Thinking That Reading Su Shi Pricing

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Text: Wang Bingyan (Master of Linguistics from Georgetown University, language educator. Always observe today's language phenomenon, and put forward personal opinions to stimulate social discussion on language education) Many people should have read Su Shi's literary works, right? Whether it's "wake up with the spring breeze" or "there is no fragrant grass anywhere in the world", Su Shi has left us many familiar phrases. But apart from the occasional sentence, how far-reaching is the influence of Su Shi's poetry or prose on us modern people? Recently, I shared with my Facebook friends and saw an article published on May 27th in "Human Fu Bao" titled " Middle school students worry about not reading Teacher Su Dongpo: their souls will dry up" . The content adjusts the ratio of vernacular to classical Chinese for the new syllabus. Quoting The editors of Hanlin and Nanyi Publishing House considered the selection of materials, and at the same time, based on the remarks of an unnamed Chinese teacher, they mentioned twice the worry that "the middle school students do not read Su Shi, and their souls may dry up". This kind of argument once again brings out the dispute over the proportion of ancient texts, and it also makes me reflect on my relationship with literary works, so I hope to explain my views on the new syllabus of this article review.

Due to the wide range of discussions on this topic, I will only respond to two points below: one is that it is insufficient to stick to the controversial direction of "vernacular vs. classical Chinese", and the other is that liberal arts teaching deserves more reflection. Although I chose the English department in college, I became an English teacher after graduation, and went to sociolinguistics in graduate school, I have always enjoyed Chinese literature, especially Su Shi. The "Night Tour of Chengtian Temple" mentioned in the article "Human Fortune" is believed to be a high school memory that many seventh and eighth graders have. Perhaps the depth of this article has not been comprehended by most middle school students, but it can bring a lot of aftertaste when looking back at it after a little older. "Former Chibi Fu" is a work that I came into contact with and cherished very much in high school. Pricing
The level of liking is that even more than ten years after graduating from high school, I can still discuss its meaning with high school students who happened to read "Former Chibi Fu". In the article, Su Shi initially expressed the small and impermanent sigh of life by visiting historical attractions with others, and finally turned to the metaphor of the moon and the river to convey the detachment of the limited life. Does this show that Su Shi and other classical Chinese works really have value? I think the answer is yes; these classic works have their own philosophy of life and are worth savoring. The author's life and creative background are also attached to the compilation of the textbook, hoping that students can understand that each work has its core idea, which is the product of the author's feelings in a specific time, space and encounter. But at the same time, I want to remind that there is no absolute causal relationship between "reading Su Dongpo's works" and "whether the soul is dry". In other words, people who have not read Su Shi or other classical Chinese works will not be particularly vulgar because of this; On the contrary,

the lack of humanistic heritage is not a problem that can be solved by Su Shi alone or by reading other selected classical Chinese works. With the new syllabus of 108 on the road, there has been constant debate on the reduction of the proportion of classical Chinese, but the topic of adjusting the syllabus to "vernacular vs. classical Chinese" is inevitably biased. The Minister of Education Pan Wenzhong said in response to this matter, "The ratio of writing to writing is not a teaching consideration. The department of Chinese subjects cultivates students' better reading and comprehension and more thinking skills. These should not be restricted by style." He believes that classical Chinese (or Su Shi) can activate the souls of students, and it is inevitable that paintings are self-limited. There is no denying the importance of Su Shi's works, just as I mentioned above the influence of these selections on me. However, it is believed that classical Chinese works can be regarded as the classics of Chinese language selection. The reason can be attributed to the so-called "language ideology" in sociolinguistics, which is the result of assigning a specific value to a language (such as French is very romantic thinking). If today's comments on the new syllabus continue to remain at the ratio of literary to white, it is likely that they are entangled in this language awareness, and then think that Su Shi or other literati's classical Chinese works are of a higher standard and irrigate one's soul. Then, behind this phenomenon is that the ability to teach the literary quality of the work itself in the Chinese language class continues to be ignored.
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