The Tension Structure Of Ancient Poetry And Chinese Teaching In Middle Schools

Along with the vigorous launch of the new curriculum standards in recent ten years, teachers and students have more autonomy to read and learn the text, which lead to a trend of diversification. The ancient poetry teaching as part of the new curriculum standard has always been the focus in middle school Chinese teaching yet difficult to be perceived and comprehend because there are great differences between the ancient poetry and that of the modern society's especially in the aspect of grammar writing age and the author's living environment. And therefore the interpretation and teaching of ancient poetry in recent years appeal both the teachers in middle school and scholars. In view of this, this paper attempts to find a new approach of teachers' interpretation of the text and of the students' new experience in comprehending the aesthetic of ancient poetry through the analysis of the structure of tension in the ancient poetry. In view of this, the author tries to merge tension concepts of the New Criticism School and Professor Cao Minghai's multi-level structure of text into the interception and teaching of the ancient poetry in middle school, which are called the ancient poetry tension structure.The ancient poetry tension structure, which exists in the form layer, representation layer and presentation layer of the ancient poetry 1(Cao Minghai), refers to the relations of unitary of opposites in literal meaning and denotative meaning of text. In other words, the relations of the unity of opposites are not confined into a single word or phrase of the ancient poetry but throughout every corner of the whole works. When we read the ancient poetry, through the method of repeated reading, appreciating the words and logical imagination, various meanings of the text was inspired and thus generating a flood of emotions, scenes and meditation of the ancient poetry. Readers, in the endless ocean of ancient poetry, feel as if they were present at the scenes of the poetry, and touched its meanings, and therefore leave free aesthetic space for the ancient poetry.The first part of this paper, mainly discuss the definition and the significance of tension structures in ancient poetry. Firstly, the author discusses the development of concepts of tension structure in new criticism and, on this basis, further clarifies the definition of tension structure in ancient poetry. Secondly, the significance of tension structure in the study of ancient poetry is discussed respectively from the aspects of overcoming the lazy thinking pattern of the ancient poetry teaching, broadening the aesthetic space of the ancient poetry text and cutting the distance between the content of the text and students.The second part of this thesis mainly concentrated on the existence pattern and aesthetic effects of tension structure of ancient Chinese poetry in high school. Firstly, the existence patterns of tension structure in the ancient poetry involve tension structure of language style, language structure and semantic structure. Secondly, the aesthetic effects of tension structure in the classical Chinese poetry include: rhyme and lyrical aesthetics, the temporal and spatial aesthetic and philosophical beauty when students read, imagine and meditate the ancient Chinese poetry.In the third part, the author mainly discusses the specific application of tension structure of the Chinese ancient poetry in middle school. First, when the teacher interprets the ancient poetry, according to its tension structure form, he or she can have an intensive reading and meditation on them, taste the exact words and sentences, put one's feelings into the poetry, explore its wonderful images and eventually own a global overview and understand the textual conception. Secondly, after interpreting the text, the teacher can organize the classroom teaching to experience the beauty of rhyme and lyrics, to enjoy the picturesque scenes presented by the poetry and to taste the philosophical beauty in ancient poetry according to the interpreting results combined with the aesthetic effects generated from ancient poetry structure.In the fourth part, the author mainly discusses the three problems of the application of tension structure in Chinese teaching should be highlighted. That is to avoid fragmentation of text understanding, to eliminate the complexity of imparting knowledge and to pay more attention to the application of language teaching.