First, the perceptual process of primary school students obtaining composition materials is not perfect.
How do things enter the portal of the human brain through perception-information and become the composition material of primary school students? Do an experimental analysis first. Let the students bring all kinds of small animal toys and dolls, and have an observation, imagination and composition training on the campus lawn. In this training, the teacher asked the students to observe the dolls and small animal toys brought, master their respective characteristics, consider the relationship between them and make up fairy tales. If students express themselves in words after observation, there will be too straightforward, unclear and single-form understanding. How can things enter the portal of the brain through perception-information, become the composition material of primary school students and enter beautiful fairy tales?
Psychological research tells us that generally speaking, this process needs to go through three steps.
The first step: "intake".
The external attributes of things have the intuitive characteristics of seeing, hearing and touching. People accept it directly and quickly through their senses. A large amount of information stimulates people's senses, and the senses convert it into bioelectric pulses, which are input into the center through nerve conduction and finally projected to the cerebral cortex.
This first step can be inferred from the speeches of several students. For example, a male student who observed a teddy bear first got "brown hair and chubby." Big head, big ears, dripping eyes, thick limbs and so on. A female student who made up fairy tales first noticed the expression of teddy bears, the yellow dynamics of puppies and the beautiful appearance of poodles.
The second step in the psychological process of obtaining composition materials is "overprinting".
After all kinds of information of things enter the brain through various senses, it will inevitably arouse similar experiences that have been perceived. The brain arranges and combines all kinds of information provided by the senses to produce a direct image, which is superimposed with the representation in the past experience to form a new and complete representation. For example, the teddy bear mentioned just now, with brown hair, big head, ears, thick limbs, front, back, side and other information, enters the brain of male students through visual senses, and is sorted, combined and overprinted into a complete toy animal image by the brain.
What kind of animal is this? What kind of personality and skills does it have? Therefore, the brain compares this perceived image with similar experiences it perceives, thus recognizing that it is a bear. Then there are all kinds of representations left in the brain by bears seen in different places in the past-bears in zoos, bears in pictures, bears in fairy tales and so on. Overlay it with the image of this teddy bear. At this time, the reappearance of this teddy bear in his mind is not completely like an objective thing, just sitting there in a constant posture and way, but changing, from front to back, sometimes pulling trees, sometimes pushing carts, a brand-new, complete and vivid imaginary image.
The third step for objective things to become composition materials through perception is "screening".
What materials should be used as composition materials? She deliberates, compares and chooses. Around the expression center, she focused on the round and happy expression of the big bear, the dynamic expression of the puppy Huang Huang, the quiet and happy expressions of the puppy Feifei, the curly dog Jinjin and the little black bear Beibei, and made up an interesting fairy tale. This requires the author to be good at screening. What I just said is a situation in screening. In the process of perceiving things, the author actively screens them.
As an objective thing, through perception-screening, it becomes the third step of composition materials, and there is another situation that naturally exists.
Psychological experiments have proved that at the moment when the senses are separated from specific things, the impression of this thing in the human brain immediately begins to fade, and some of it loses its original richness and distinctiveness. With the passage of time, this image is inevitably eliminated and obscured by forgetting, but at the same time it is reflected and dyed by the new image, thus a series of changes have taken place. Some things or some aspects of things may be weakened, diluted and disappeared, while others or some aspects of things may be strengthened, concentrated and highlighted, and stored in the memory system for a long time, becoming the composition materials in stock. In other words, perception and observation are not only the first step to obtain composition materials, but also directly affect the effect of memory, which is really important.
Second, the goal is too high and students are frustrated.
Composition teaching is inseparable from knowledge base and understanding level, which are synchronous development and gradual integration. At present, there are still many teachers who are not clear about the purpose of composition teaching.
It is very common to follow the baton of the exam and stress "short-term interests" and excel in composition teaching. For example, some schools require propositional composition in the third grade and "all aspects" in the senior grade. In the instruction of composition teaching, there are some phenomena such as blindness, over-high, arduousness and over-demanding in the evaluation of students' homework, which makes students feel that writing is "unattainable" and seriously affects the due effect of composition teaching. In the long run, students' mood of learning composition will be dampened, become negative and bored, and lose interest in composition.
Third, closed teaching, composition divorced from students' real life.
In composition teaching, many teachers imitate the old closed teaching mode, mostly give priority to the guidance of propositional composition, pay more attention to form than content, and get used to the writing methods of teachers and students, which leads to the shortage of students' "drawing inferences from one example to another". Such a composition teaching mode that does not take students' life as the starting point is tantamount to "building a car behind closed doors". Such students are ordered to write, their thoughts are bound and their personality is restricted. Students follow the trend and obey orders around the selected excellent compositions and the teacher's baton. Whether it is the idea of material selection, the structure of arrangement or the characteristics of language, they are always careful not to cross the line. Writing has become a passive water, with no taste of life and no interest of children, which leads to students' rigid thinking mode and mechanical thinking pattern. Of course, I am not interested in writing. Composition teaching should be people-oriented, open the form of composition, adopt the way of making independent propositions within the prescribed scope, and give full play to students' initiative.
Fourth, without timely encouragement, students lose confidence.
Students study writing very hard, but once they are interested, they will "enjoy it" and study happily, thus generating initiative and enthusiasm and finding the golden key to composition. If the teacher criticizes the students' homework, or makes them feel that they can't express their feelings and desires with their own understanding and imagination, many negative experiences will develop into aversion to composition, and some skills they have mastered will fade away on their own. Especially some students with poor level are afraid of the composition itself. If the teacher does not give them confidence, it will be even worse, resulting in rebellious psychology and inferiority complex.
Fifth, the lack of feedback and communication in marking can not arouse students' enthusiasm for writing.
Every time a student writes a composition and gives it to the teacher, it seems that he has completed the task. Whether it's good or not, they won't modify it again. Most teachers just mark the handed-in composition, write a few comments and send them back to the students, even if the composition teaching is over. When students face a single reader of composition-the teacher, the feedback they get is not only a score and some ambiguous comments. Of course, it can't arouse their interest in composition, and it is impossible to achieve good results in every composition teaching. According to the above reasons, we should take some corresponding measures in composition teaching to eliminate students' fear of composition and stimulate their writing enthusiasm.
(A) let students write in real needs.
Need is an emotional and psychological need of the subject, and a desire to seek psychological balance or express certain emotions. According to psychology, need is the basis of motivation. When objective things can meet this need, this need accompanied by pressure will prompt people to take action and become an effective motivation. Therefore, composition teaching should strive to make students clear the purpose and significance of composition training, and make them feel that writing is really the need of study, life and exchange of ideas, thus generating strong and stable writing motivation. This purpose education should conform to the characteristics of students' psychological development, be vivid, concrete and infectious, so that it can be easily accepted by students and students can actively write.
(B) the goal is suitable for mobilizing positive emotions.
In teaching, using students' positive emotions can be regarded as a good behavior, which can promote students' development towards success. Teachers should set practical composition teaching objectives according to the actual situation of students' age characteristics, cognitive level and writing ability. In teaching activities, teachers and students should open their hearts, communicate with each other, learn from each other's strong points, trust students, encourage students to enhance their self-esteem and self-confidence in writing, and promote their writing mood to be in the best state. Attention should be paid to students' psychology of emphasizing scores. When grading students, students' writing level should be analyzed in detail, and the grading criteria should vary from person to person. For students with good writing foundation, we should urge them to develop towards higher goals. For students with poor writing foundation, we should lower the requirements and compare them before and after, so as to mobilize the poor students to write every composition well. Try to create a relaxed writing atmosphere for students and gradually eliminate the pressure of students' composition.
(3) Broaden channels to attract living water from the source.
The interest in writing comes from life. If students have a rich life, are exposed to many things, are knowledgeable and broad-minded, their feelings will be profound, and they will find both when writing a composition. Therefore, teachers should guide students to observe life and understand things purposefully and in a planned way. Pay attention to students' reality, carry out colorful second-class activities, organize students to participate in speech contests, and encourage students to write proposals and broadcast drafts. Let them taste the fun of writing in practice. Regular information exchange meetings are held in the class to let students exchange their feelings about the information collected by everyone, so as to expand the effect of the activity, let everyone get all the information, make them feel that they are "particular about everything" and write exercises with a strong flavor of life.
(d) Create opportunities for success and gain successful experience.
Psychological research shows that success motivation can stimulate people's spirit of struggle, and success is the pillar of interests. Therefore, in composition teaching, teachers should try their best to create successful opportunities for students' compositions, encourage and help students to gain successful experiences, and strengthen their interest in learning with satisfactory results. We should fully explore and capture the success and highlights of each composition and affirm it in time. Students' compositions can't be perfect, but they can't be worthless. "Dozens are not as good as winning a long prize". The teacher's evaluation is very important to the students. A little success will arouse students' psychological excitement and arouse their joy. Only in this way can the enthusiasm of most students, especially poor students, be aroused. If students can't always experience the pleasure of success in composition training, they will have anxiety and inferiority, thus losing interest in learning composition.
(5) Bilateral error correction and increased feedback exchange.
After the students' compositions are finished, teachers and students can exchange and revise them to increase their interest in the compositions. After the composition book is collected, or the teacher will probably correct it first, point out some obvious shortcomings, and then let the students seriously correct it and consider whether the words are appropriate. Or students correct each other first, and then the teacher checks and scores, and communicates in two directions. Teachers will make individual and collective comments on the problems in communication. Doing so is of great benefit to the whole class. Everyone has to go through a complicated and meticulous thinking process, such as whether the words and sentences are reasonable and accurate, whether the language is vivid and vivid, whether the reasoning is logical and so on. And they have to use their brains to analyze and reason, and then make judgments and modify them one by one. Moreover, students who don't write well may learn methods and be inspired to rewrite good compositions; Students who write well will also learn from those who write poorly. Every time you change each other, it is tantamount to an observation and communication. For some good compositions, they can be published in schools, classes, blackboard newspapers and school magazines, which can expand the readers of the compositions, stimulate students' competitive psychology and enhance their sense of participation in writing.