是动作的省略 还是大师的“破绽”——兼与宋桂奇老师商榷

Omission of Verbs, or the Master's “ Weak Point”?——A concurrent discussion with Teacher Song Guiqi

文学作品所提供的场景,既是作家对现实生活的反映,又是作家虚构、想象的产物。作为课堂教学语文课,老师可以创设一种氛围,让学生进入情境,便于加深对作品的理解。但如果要一一对应地对作品中的每一个情节进行“演示”,忽视作品的虚构和作家的想象,乃至作品中有意形成的“空白”,千方百计地找到其“破绽”,则完全背离了语文教学乃至文学欣赏的初衷。

Literary works offer not only writers’ reflection to actual life, they are also the results that writers made up and imagined. In classes of Chinese, as the subject of classroom teaching, teachers may offer a kind of atmosphere, let students enter the scenes so as to strengthen their understanding of works. But if we try to “demonstrate” every plot one-to-one correspondently in the works, neglect the fabrication of the works and the writers’ imagination, search “weak points” in them by every possible means, then we are doing something totally contrary to the original intention of Chinese teaching.