第一篇：淺析莎士比亞的《威尼斯商人》以女性角色為例

Title 淺析莎士比亞《威尼斯商人》-以女性角色為例 The Role of Women in The Merchant of Venice Abstract

This thesis explores the ways in which Shakespeare?s female characters challenge traditional social norms.Through the comparison of the female characters with Queen Elizabeth and Patient Griselda, this study discusses the implications of the rebellious behavior of the women in The Merchant of Venice.This thesis concludes that Shakespeare purposely challenges strict social views put forward on women by creating female characters who challenge male authority and are celebrated for their behavior.I: Introduction While many scholars have written millions if not billions of pages regarding the work of Shakespeare, the majority of feminist scholarship is quarantined into the later half of the twentieth century extending into today.Traditionally, scholars focused more on the issues about religion and the relationships between the male characters, often contextualizing the events of the play within the Elizabethan era and citing the anti-Semitism rampant in the period by using historical documents.In other instances, scholars have focused on perceived homoerotic behavior between the male characters Bassanio and Antonio, again relegating the role of the females in the play to a secondary sphere.Finally, when scholars do focus on any female character in the play, almost exclusively, and understandably, they focus on the complexity of Portia, and Nerissa and Jessica are reduced to a side note.Because of the relative lateness of feminist scholars joining the discourse regarding the work of Shakespeare, large gaps still exist, particularly when dealing with his female characters and their environment that have yet to be fully explored.Many feminist and non-feminist critics have explored the character of Portia in the elapsed time frame since the 1859 source mentioned above.I intend to compare the female characters with other vision of the “Renaissance woman”, Queen Elizabeth , available to men and women living in Shakespeare?s day.Queen Elizabeth women is iconic image of the English Renaissance.It was obviously a real woman who lived during the Renaissance, and therefore her image and experiences are invaluable in evaluating life for women at the time.In addition, it is important that the Queen Elizabeth women represent ta level of society in which woman was the supreme ruler of Britain and therefore had, in some ways, more freedom than the average female.II: Women characters as Wives role This thesis contends that Shakespeare?s female characters in The Merchant of Venice do not comply with the roles prescribed for women in more conservative Renaissance literature, particularly with regards to proper behavior for a wife.Furthermore, Shakespeare has given us in the play directly contradict all that the manuals, guide books, and folk stories recommend and instead celebrate an independent-spirited female role model.Shakespeare illuminates three unique women, all of whom rebel in their own ways against the status of women as second-class citizens.Within marriage structure described in The Merchant of Venice, he husband was in charge of every aspect of his wife?s life.In some text this even went so far as to call the husband “the King, Priest, and Prophet in his house” allowed to render verdicts on every issue in his family.These indicate that women?s place is meant to be beneath their husbands and is deserved because of the role Eve played in the fall of man was a common tactic to help explain why women were placed below men by nature, custom, as well as in law.Tilney proposes that women have a very specific place in the hierarchy of society, and that all is well if men and women know their place and stay in it.Being aware that Tilney would be responsible for determining if the play contained objectionable content, Shakespeare?s presentations of the wives in the play suggest that perhaps he took specific delight in making these women expressly the opposite of everything that Tilney indicates that women should be – obedient and governable.The female characters in Shakespeare?s play come nowhere near fitting into the neat mold of the obedient, submissive and passive wife idealized in so much of early modern literature.Within this historical perspective, many aspects of the way in which the female characters in The Merchant of Venice behave become very telling.Portia in The Merchant of Venice appears to be making fun of those who tell people what to do.Portia acknowledges that it is easy for church men to give instructions on how to behave, but wonders how many are actually able to follow their own advice.She sets herself up in direct contradiction to the messages being espoused by the church.While these messages certainly pertained to all aspects of life, the proper road to marriage and the roles defined therein were of particular interest.Immediately, we view Portia as in opposition to the dominant forces that surround her.Directly following this initial impression of Portia, the audience hears her and Nerissa begin discussing her suitors in great detail.Nerissa lists out all of her potential husbands while Portia gives her reasons for not being interested in any of them.While the fact that she has no control over her selection of husband is a topic for the next chapter on her role as a daughter, the fact that she mocks ceaselessly all of her potential husbands is a critical point to note.At this point in the play, we have to assume that any of these men could be her future husband, and Portia shows no sign of being the wife detailed in pamphlets in regards to ignoring the faults of a husband.Women were instructed in behavior manuals of the day to ignore their husbands? faults or to live with them the best they could.On the other hand, Nerissa?s participation in this conversation proves her to be a more assertive woman than is encouraged in the guide books and manuals governing marriage.By being a party to Portia?s descriptions of her suitors, she is helping Portia to deny male superiority over both of them.Furthermore, as soon as Portia, at Nerissa?s continual urging, has made her way through all of the descriptions of the suitors, only then does Nerissa reveal that “You need not fear, lady, the having any of these lords.They have acquainted me with their determinations, which is indeed to return to their home, and to trouble you with no more suit, unless you may be won by some other sort than your father?s imposition depending on the caskets”(I.ii.100-05).The fact that Nerissa has known all throughout her conversation with Portia that the men have given up the hope of being Portia?s husband is an important point to note for the entire play: at times Nerissa has more knowledge than even Portia.When thinking about Nerissa in the hierarchy of the play, this point seems to be vital.Nerissa is really her equal in many ways.This is further cemented when Nerissa brings up Bassanio immediately after the conversations regarding the suitors takes place.It is not Portia who first names the man that will become her lord, but Nerissa, who shows incredible insight combined with an astute knowledge of human behavior.From their initial introduction in the play, Portia and Nerissa appear as characters who should not to be crossed;they are purposeful and definite about their feelings on subjects that deal with the opposite sex.The introduction of Jessica is followed by a scene where Launcelot delivered her message to Lorenzo, her intended husband.Interestingly, the words that Lorenzo employs to describe the missive are: “She hath directed / How I shall take her from her father?s house, / What gold and jewels she is furnish?d with”.It is clear that not Lorenzo but Jessica is readying the plans for the escape.Surprisingly, even in today?s fairy-tale saturated culture, a woman procuring her own means of escape and not sitting back and waiting for her knight in shining armor to burst in and carry her away is relatively feminist.The implications in Shakespeare?s day are even more so.This idea of Jessica as being the dominant member of the partnership is continued through the scene of her escape from her father?s house.After the couple has procured the first of the treasures with which Jessica is escaping, Lorenzo informs her that she should “come at once, / For the close night doth play the runaway, /And we are stay?d for at Bassanio?s feast”(II.vi.46-48).This is tantamount to a direct order and, according to guide books on marriage and behavior towards one?s husband, Jessica should acquiesce to the order immediately regardless of her own thoughts on the subject.However, instead Jessica replies, “I will make fast the doors, and gild myself / With some moe ducats, and be with you straight”(II.vi.49-50).Jessica uses her own decision-making skills to determine that procuring more money from her father?s stash before leaving is the appropriate decision, and she does not ask for Lorenzo?s pardon or explain the situation.III: Women characters as Daughters role（1000）

Elizabethan society viewed a woman as always being under the control of a man where woman as daughter is under the command of her father and later as a wife is under the control of her husband.This chapter explores the notion of the women as independent-spirited daughters in The Merchant of Venice.Portia, Nerissa and Jessica are all daughters in the play before they become wives.All three of the women in the play are evidently the daughter of a father at some point, as all women must be.Just as was the case of the behavioral manuals for wives, strict Elizabethan viewpoints on the father/daughter relationship consisted of rules based on Biblical principles which governed the interactions and relationship between any man and his daughter.Most texts surmise that the primary responsibility of a parent is to provide their child with a solid education in Biblical principal and a strong Christian faith.The emphasis of many of the guide books was often on what children owed to their parents.Parents were responsible for administering proper religious instruction and for discipline;in contrast, children owed their parents their very lives.The father was the head of the household, and therefore part of his responsibility was to be in charge of his daughter and many aspects of her fate.In fact, one of the primary in Elizabethan society was to help them along to a good match.Shakespeare?s treatment of the relationship between father and daughter in The Merchant of Venice indicates that he was not a traditionalist in many senses.From the first interaction between Portia and Nerissa in the play, Portia?s father?s decision to leave her fate up to the casket test is called into question.When she asks about the wisdom of her father?s choice in leaving her fate to be decided by what equates to a riddle or game, she challenges the authority of the man who, according to conventional wisdom, is unquestionable.She questions Nerissa about the logic of allowing such an important issue to be decided in this manner when she says, “O me, the word choose!I may neither choose who I would, nor refuse who I dislike;so is the will of a living daughter curb?d by the will of a dead father”(I.ii.22-25).Portia?s statement challenge the strictures put into place by her father, in direct contrast to the Elizabethan idea that children must honor the persons of the aged.Portia?s questioning nature also immediately puts her in contrast the Elizabethan ideal woman.The Elizabethan ideal of the dutiful and obedient daughter manifests itself exactly in Grissill?s response: it should be irrelevant if she wants to marry the Marquis, more important is whether her father wants her to marry the Marquis.At this point, her primary obligation is to her father, until Grissill marries the Marquis and her complete obedience to him is assured.Portia shows no sign of this blind allegiance to her father?s wishes – would the Prince of Morocco or one of her other disagreeable suitors win her hand through her father?s casket test, one finds it difficult to imagine Portia making such a speech.Interestingly, Nerissa immediately speaks up, aligning herself in the audience?s eyes as the traditional Elizabethan dutiful daughter, clearly stating to Portia that her father was wise and only had her best interests at heart.She indicates that the riddle must yield her a good husband because of her father?s wisdom.Immediately, it appears that Nerissa believes wholeheartedly in a daughter acquiescing to her father?s will.However, it is interesting to note that Shakespeare never makes clear whether or not Nerissa really believes what she is saying or if she is only trying to assuage a friend, confidante, and superior?s fears.It is assumed that Portia would be unable to keep her palace at Belmont and all the grandeur and comfort that her life accords.Regardless of Nerissa?s attitude and rationale for guiding Portia toward making the “acceptable” social choice of adhering to her father?s guidelines for her selection of a husband, the question of whether “Portia humbles herself before the law of her father”.Throughout the play she repeatedly says she will abide by her father?s decree, but before she ever pledges to make good on the promise she announces to her friend and closest confidant Nerissa that “I will do anything, Nerissa, ere I will be married to a sponge”(I.ii.98-99).This sentence gives credence to scholars? arguments(which will be discussed in greater detail later)that Portia does not only not sit back quietly and allow for her father?s wishes to play out how they may, but takes matters into her own hands.After all, if Portia announces early in the play that she is willing to “do anything” before she marries one of the suitors with whom she has no interest, the likelihood of her being willing to ignore her father?s decree increases.When Jessica is first introduced in her interaction with her father, Shylock, it appears that she might well have heeded that young women should be not full of tongue, nor use many words, but as few as they may.Jessica?s response to her father?s repeated calls for her when she finally arrives is merely “Call you? what is your will?”(II.v.10).This response bodes well for Jessica to be the contrasting character to Portia and Nerissa?s more liberated view on the role of daughters.Jessica then listens patiently for all of her father?s instructions about how she should “Lock up [his] doors” and his orders for her to stay inside despite the levity she may hear passing in the street.The second(and only other)line we hear Jessica say to her father is in response to his question about Launcelot?s parting words to her.She replies, “His words were ?Farewell, mistress!? – nothing else.”(II.v.45).Obviously, this statement is a lie and thus a turning point in our view of Jessica as an obedient daughter.As Sharon Hamilton reasons, Jessica “says almost nothing to her father during this scene, except to ask ?What is your will?? and, later, to lie about what Launcelot has whispered to her – not ?farewell? but details about the elopement”(46).In Elizabethan terms, Jessica is disobeying God.Though she is perhaps gaining the potential of heaven in one way, strict Elizabethan principles dictated that she could be losing the potential of God?s favor by disobeying her father, her earthly lord.Furthermore, Jessica?s independence in spite of her father?s will is manifested in the very fact that she has planned to elope with Lorenzo, despite a complete lack of parental consent for her choice.IV: Conclusion Choices for women in Elizabethan England were intensely limited by today?s standards, and regulations regarding women?s behavior and demeanor were rigorously prescribed.Their socially-defined subservient roles to men as wives and daughters dictated that women should always be under the control of a man.But in The Merchant of Venice, Shakespeare raised a voice for non-traditional women.Throughout the play, Shakespeare gives the audience three independent and spirited young women who all refuse to conform to society?s rules for them.In almost every respect, Portia, Nerissa and Jessica all behave in polar opposition to the decrees put forward by behavioral manuals.Throughout The Merchant of Venice Portia, Nerissa and Jessica appear as the dominant partner in their relationship with their husbands.These three female characters do not conform to the ideas put forward in Elizabethan pamphlets and guide books about the role of wives.Indeed, Shakespeare wrote women who had to live within the stifling environment of Elizabethan England, but he did not write women whose independent natures and robust personalities would be thought of as admirable by everyone.In fact, many times the women he presents were in direct contrast to all that was written about the acceptable and appropriate personalities and behaviors of the female sex.It is as though Shakespeare is purposely putting forth a challenge in his plays to all those who wrote of the ways in which women should behave.His women explore the much more interesting and dynamic ways in which women could behave.It is clear that the female characters in The Merchant of Venice are the impetus for everything turning out happily for everyone in the end.References [1] B., Ste.Counsell to the Husband: To the Wife Instruction.2nd ed.London.[2] Barker, Deborah and Ivo Kamps, eds.Shakespeare and Gender: A History.New York: Verso, 1995.[3] Anderson, Bonnie S., and Judith P.Zinsser.A History of Their Owne.New York: Oxford, 2000.[4] Barton, Anne.Introduction.The Merchant of Venice.By William Shakespeare.The Riverside Shakespeare.2nd ed.Ed.Boston: Mifflin, 1997.[5] Bevington, David.“Cultural Exchange: Gascoigne and Ariosto at Gray?s Inn in 1566.” Ed.Michele Marrapodi.25-40.[6] Clark, Cumberland.A Study of The Merchant of Venice.1927.London: Folcroft, 1976.[7] Cook, Judith.Women in Shakespeare.London: Harrap, 1980.[8] D?Amico, Jack.Shakespeare and Italy.Gainsville: UP of Florida, 2001.

第二篇：以角色為話題的作文

以角色為話題的作文

以角色為話題的作文

（一）每一個人都有一個屬于自己的小小世界，在這個世界里他又同時出演著各種不同的角色。而這角色的好與壞影響著這個世界太平和**。

我們不僅是老師眼中的學生，家長眼中的孩子，還是老板眼中的職員，情人眼中的對象??

一個人從蹣跚學步到成為一個頂天立地的男兒再到滿頭白發(fā)趨僂而行，在經(jīng)過花開，蟬鳴，葉落，雪飄的四個季節(jié)時總伴隨著人們的喜怒哀樂，在這個過程中你的一舉一動，一瞥一笑乃至面部表情，都會牽動著每一個人的喜與悲。

好的角色就是，在生活中，你是一個乖巧，可愛，討人喜愛的好孩子；在學習中你是一個勤學，好問，奮發(fā)向上的好學生；在工作中你是一個，努力，認真，兢兢業(yè)業(yè)的好職員。自然你周圍的人都會喜歡你的，你也會是一個很幸福的人的。會得到老師的好評，家人的關愛，老板的親睞，以及朋友的信任??生活在這樣的環(huán)境中，你當然會覺得每天都是晴空萬里了。壞的角色不用說大家也知道了，生活中，調(diào)皮搗蛋，另人生厭；學習中，上課睡覺，不求上進；工作中，又什么都不干，不求上進。自然就會覺得每天都是烏云密布了。

其實誰不想做一個好人呢，不說留芳百世，至少也應該讓我們周圍的人都喜歡我們吧／扮演好自己的角色并不是一件易事，既要做一個好學生又要做一個好孩子還要做一個好員工。

在這短暫的人生中，我們應該有所作為，當我們在回憶時也不會因虛度而悔恨。至少也應該作到讓同齡嫉妒我們有才華，讓別的家長羨慕我們的家長有那樣乖巧的孩子，讓老板可以在別人面前炫耀有我們這樣好的職員。

努力扮演好自己的角色，讓我們的名子在我們的小世界里永駐。

以角色為話題的作文

（二）人生是一個絢麗的大舞臺，每個人都在這個大舞臺上扮演著不同的角色。一個個>故事在這大舞臺上上演，或喜、或憂。

緩緩地走在石子小路上，柳枝垂下來，剛剛在我的頭上。雨后的天空格外明亮，我看見前面有一個阿姨，戴著草帽，彎著腰，拿著掃帚緩緩地移動?？蓜幼鞯挂哺蓛簟⒗?。廣闊的天空將她顯得更加渺小，周圍沒有什么人，她依舊用心地掃走每一個垃圾。那神情多么專注，多么仔細。是啊，這是她的角色，她努力地扮演好了自己的角色。

走出公園，天空又下起了毛毛細雨，我加快了步伐。突然間我看見一個警察在雨中，哦，原來是交警啊！他站得筆直，一直變換著手勢，表情十分嚴肅、認真。調(diào)皮的雨飛過去，沾在了他的臉上，越來越多的雨，匯集在他的臉上，形成了一條條溝壑。雨順著他的臉頰滑落，一滴，一滴??他依舊面不改色地站著，指揮著車輛的運行。我的心中泛起一股暖流，呵，他是交警，在人生的舞臺上，他扮演好了自己的角色。

雨更大了，大顆大顆的雨讓我不得不奔跑。跑回家中，將濕透了的頭發(fā)擦干后，便坐在電腦前玩電腦。電話響起，我拿起電話，是媽媽的聲音。媽媽說雨太大了，讓我去接她，我回答說好。便關了電腦，拿了雨傘，匆忙地下樓去了。下樓找到媽媽，我?guī)蛬寢屘崞饢|西，撐起傘，便走回了家。她是我的媽媽，我是她的女兒，幫她做事是我的義務，是我的責任。我應該做好子女的角色。

雨漸漸地小了，太陽放出光芒來，溫暖的陽光普照著大地，我心里也暖暖的。在人生的舞臺上，不同的人有著不同的角色，我們所能做的只有扮演好自己的角色，才能演繹出自己精彩的人生。

以角色為話題的作文

（三）沒有人會知道在下一秒將迎來什么，所以，請在每一秒扮演好自己的角色。

——題記

下一秒，會是怎樣？也許是悲歡離合，也許是覓及摯友，也許是夢想的破碎，也許是希望的重拾，也許是歡笑，也許是眼淚，當然，也有可能虛度而過。

在失敗的那一秒，你需要扮演的是一位慈祥的母親，你所需要的工具是柔和的目光，語重心長的教導，以及一碗心靈雞湯。你要學會一個人去扮演兩個角色，一個是失落的孩子，一個是母親。用柔和的目光溶解孩子心中的冰塊，讓這個孩子尋找到陽光，擦干眼角泛起的淚花，在母親的等待 中選擇微笑。接著，母親要告訴孩子，眼淚代表脆弱，不可以如此輕易地留下眼淚，不經(jīng)過風雨怎能看到絢麗的彩虹，雛鷹不經(jīng)歷磨練怎能有搏擊長空的勇氣，要學會自己去找到突破口，讓困難迎刃而解，最后，這個母親可以離開，默默看著孩子一步一個腳印，走向最美麗的海灘。在飾演角色的過程中，你懂得了開導他人，也學會了面對坎坷。

在成功的那一秒，你需要扮演一位老者，你所需要的工具是一本書一個飽經(jīng)風霜的眼神，以及一塊石頭。這時，你依然要變成兩個角色，一個是歡呼雀躍的成功的人，一個是老人。告訴成功之人：“謙虛使人進步，驕傲使人落后。”讓他在虛榮心面前果斷的轉(zhuǎn)身，選擇繼續(xù)踏踏實實地向更高的一層而奮發(fā)努力，讓他知道，必須擁有十年磨一劍的毅力，才可再創(chuàng)奇跡。接著，給予他一個飽經(jīng)風霜的眼神，讓他看到光輝歲月背后失落的迷惘，還有每一滴辛酸的淚，用這來澆滅他心中傲然的盛火，回首凝望自己的風雨，在歲月的長河中鐫刻下一道痕。最后，老者將注視著這個一時成功之人一生的成功。這一秒，你有了更穩(wěn)的人生鋪路石。

而假使，下一秒你虛度了，并沒有去扮演應該扮演的角色，那么，下一秒的下一秒，你是否依舊沉浸在呆滯的目光，空洞的眼神，麻木的神情里？沒有各種角色的人生，將黯淡，甚至渾濁。所以，請在每一秒扮演好自己的角色。即使沒有去扮演，那也必將微笑著，而不是愁眉苦臉，微笑，讓你成為了一個樂觀的角色，不是嗎？

人生的角色，就是這些細微的小角色匯成的，每一秒，你都在扮演什么呢？

第三篇：以春曉為例

以《春曉》為例，談信息化環(huán)境下小學一年級語文的教學設計

〖打印內(nèi)容〗發(fā)布時間：2015-12-13 16:42:13 來源：語文網(wǎng) 瀏覽：18463 作者：匿名

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【摘要】

信息化環(huán)境下，多媒體教學成為學校教育不可或缺的部分。小學一年級語文的教學設計從素質(zhì)教育的背景出發(fā)，以課程標準為依據(jù)，準確表達和演繹教學內(nèi)容，注重學生的年齡、智力、個性特點，力求易用、生動，體現(xiàn)科學性、輔助性、實踐性的原則，切實這學科教學服務，為課堂教學改革服務，為學生服務。通過教學設計的展示和演繹，提高語文課堂教學質(zhì)量和效率，促使學生領會知識、學會學習，主動發(fā)展。

【關鍵詞】

語文 教學設計 依據(jù) 原則 技術的應用

當今，信息技術的高速發(fā)展，為課堂教學運用多媒體教學手段提供了充足的技術條件和廣闊的發(fā)展前景。多媒體教學已經(jīng)成為學校教育中不可或缺的部分。在信息化環(huán)境下，依據(jù)不同的教育背景和對象，如何促使人(師生)機、技術與課程、媒體技術與教學內(nèi)容的最佳組合成為廣大教師不斷思考、探索和實踐的問題。本文以 《春曉》一課為例，試談信息化環(huán)境下小學一年級語文的教學設計。

一、設計遵循的依據(jù)

多媒體教學形式在傳遞信息方面適用范圍很廣，但目前更多的是表現(xiàn)在學校的課堂教學。這就表明學校中的多媒體教學必須在素質(zhì)教育的背景下，依據(jù)學科的要求和特點及教學對象來展開。就一年級語文而說，它的教學設計必須有下列依據(jù)。

1、素質(zhì)教育的要求：

《中共中央國務院關于深化教育改革全面推進素質(zhì)的決定》指出：全面推進素質(zhì)教育，要堅持向全體學生，為學生的全面發(fā)展創(chuàng)造相應的條件，依法保障適齡兒童和青少年學習的基本權(quán)利，尊重學生身心發(fā)展特點和教育規(guī)律，使學生，生動活潑、積極主動地得到發(fā)展。

因此，在信息化環(huán)境下，語文的教學必須體現(xiàn)：⑴ 全面性;⑵ 學生個性特點;⑶ 教育規(guī)律;⑷ 主體性、主動性和發(fā)展性。素質(zhì)教育以全面提高人的素質(zhì)為核心，所以素質(zhì)教育首先是人的教育，一切都是為人服務，語文的教學設計也是為人而設計。同時學生是學習和發(fā)展的主體，為人而設計的教學手段和內(nèi)容，必須圍繞學生來進行，適應學生身心發(fā)展和語文學習的特點，不僅為學生的智力提高，也為學生全面素質(zhì)的發(fā)展。

2、課程標準和教學內(nèi)容： 語文課程標準與總體目標和階段性目標。語文教學設計在總體目標的框架下，著重體現(xiàn)階段性目標。就一年級而言，語文教學要逐步培養(yǎng)學生愛國情感和良好的學習習慣，掌握基本技能，包括識字與寫字、閱讀、寫話、口語交際、綜合性學習等技能，發(fā)展學生的語言和思維。語文教學的多媒體設計必須反映這些目標，而不能跳出這一圈子，嘩弄取寵。

我設計《春曉》一課就緊圍繞該課的教學目標來進行。包括：情感目標(熱愛自然春天，環(huán)境時光和生活，感賞詩美)。能力目標(學會生字、拼寫、朗讀、背誦、初步審美)等。在教學目標的展示和演繹中，我配予明麗的色彩、生動的畫面及動聽的音樂來進行，效果極好。

學生年齡、智力特點和個性。一年級學生年齡小，生理、智力的發(fā)展遠未成熟，經(jīng)過幼兒園的教育，有一定接授知識的經(jīng)驗，但是低層次的，僅僅是初步具備認識世界的能力。所以，語文的教學設計，一方面必須充分考慮到他們的年齡、智力特點，從他們的主場出發(fā)，進行教學設計。另一方面，要考慮到學生的個性，他們雖小，但他們是好動的，活潑的，具有極強的求知欲，急于了解周邊的事物。設計的內(nèi)容力求做到反映兒童的求知需求，分量程度適當，便于教和學。在《春曉》一課中，從目標至過程，從畫面色彩的選擇到音樂聲音的搭配，都體現(xiàn)出反映兒童的求知特點，突出主體，順序漸進。

3、技術條件：

目前，現(xiàn)代教育技術，更廣泛地應用于課堂。信息技術的成熟，科技日新月異的進步，為教學軟件的制作提供了充足的條件和依據(jù)。各學校為迎合信息化的要求，提高教學質(zhì)量和效率，普遍建立教學平臺和校園網(wǎng)。這為多媒體教學提供了客觀條件。市場上可供購買的教育軟件很多，有資源類、教學課件類、試題類、管理類、平臺軟件類以及剛剛興起的基于網(wǎng)絡環(huán)境下的信息技術與學科課程整合類教育軟件等。掌握了技術，制作課件是不難的。我在制作《春曉》教學輔助課件，就使用了工具軟件Flash、PhotoShop。這些工具在動畫制作、圖片處理方面效果好，且占用內(nèi)存空間小的特點，還可以將文本、圖形、動畫、聲音、視頻等多種媒體信息集成在一起，形成具有學科特色與知識結(jié)構(gòu)體系的教學系統(tǒng)。為教師備課、講課提高豐富的教學資源。

二、設計遵循的原則

一年級的語文教學，是以黨的教育方針素質(zhì)教育思想為指導，注重培養(yǎng)學說讀寫能力，打好語文基礎，重視對學生思想品德教育和學科思想方法的啟蒙教育，培養(yǎng)創(chuàng)造能力和實踐能力，為學生的終身學習、生活和工作奠定基礎。在信息環(huán)境下，語文的教學設計必須圍繞這一教學目標而進行。在設計中要體現(xiàn)科學性、輔助性、實踐性和可變性的原則，真正發(fā)揮現(xiàn)代教育技術的應用作用，真心為課堂教學服務，為學生服務。

1、科學性：

首先以先進的教育理論為指導，以學生為教學活動的主要對象，以現(xiàn)行教學大綱和教材為主要依據(jù)，腳本的編寫包括識字(生字)、寫字(筆順)、朗讀(情感發(fā)揮)、口語(注音)、練習(作業(yè))等準確表達教學內(nèi)容。其次教學程序設計要合理，最能體現(xiàn)教師的教學經(jīng)驗和教學特點，它是教師教學思想的具體表現(xiàn)。

如《春曉》一課，程序設計為：〖封面導言〗以小學語文課本封面圖案為基礎;〖知識內(nèi)容〗教學目標、重點、難點、生字、課文、等;〖交互方式〗讓使用者在一組多個可能的對象中進行選擇，各種可能的選擇項以菜單形式顯示在屏幕上;〖跳轉(zhuǎn)關系〗根據(jù)教學重點、難點、知識要點確定超文本的節(jié)點，豐富節(jié)點的內(nèi)容，以教學內(nèi)容之間的邏輯關系確定節(jié)點間的聯(lián)結(jié)關系，從而改變了一般教學軟件死板的線性或樹狀結(jié)構(gòu)，成為跳轉(zhuǎn)靈活的網(wǎng)狀結(jié)構(gòu)使本課件在教學中產(chǎn)生了革命性的作用，對培養(yǎng)學生的聯(lián)想思維能力、實施因材施教等具有重要的意義;〖導航關系〗通過導航條引導學生圍繞教學目標，提高教學效率、進行更有效的學習;〖評價與練習〗提出問題對學生進行評價，以了解學生對知識內(nèi)容的掌握程度，并在教學過程中達到強化、矯正和定位的作用。

2、輔助性： 就目前社會發(fā)展的要求來說，無論現(xiàn)代教育技術多么先進，都不能取代教師在課堂中的作用。雖說課堂教學可以進行人機對話，但任何機器同人是不能比擬的，因為人是有情感的，有血有肉的，所以教師才是課堂教學的靈魂?，F(xiàn)代教育技術手段應用于教學，僅是輔助性的。如果教師不注重課程與技術的整合，不注重學生的主體性，僅靠令人眼花暸亂的多媒體技術的展示來開展教學，那將是失敗的教學。雖然動人的畫面一時可以吸引兒童，但它沒有實際的內(nèi)容，靠純技術性的運作是短暫的，時間一長將被兒童厭棄。當然，輔助并不是簡單的輔助，它必須盡可能體現(xiàn)出人機、技術與課程、媒體技術與教學內(nèi)容的最佳組合，切實體現(xiàn)現(xiàn)代教育技術應用于教學的優(yōu)勢和作用。

3、實踐性：

首先是實效性。在信息化環(huán)境下，語文教學設計要做到目標明確、程序合理、易于操作、畫面簡潔生動、色彩明麗、適合兒童的認知特點和學習的個性。在實踐中有效果，有利于提高課堂教學質(zhì)量和效率，有利于促進兒童的發(fā)展。其次，適合交流與合作。教學設計要體現(xiàn)因材施教的原則，賦予課件以生命，便于人機交流與合作。通過教師的指導作用，使每位兒童在課件的生動演繹中享受到人機對話的樂趣，在快樂中學會認知，學會學習。

4、可變性： 語文教學設計應是一個動態(tài)的過程，它除了追求教學效果，易于操作外，還應該可以進行修改和補充。因為當今知識遞增迅速，被教育者又不是一成不變的，所以教學設計在實際應用中應得到不斷的整合，體現(xiàn)其最高的價值。

在信息環(huán)境下，語文的教學設計還應探討，現(xiàn)代教育技術該如何運用，媒體該如何選擇等問題。本文不再一一探討。概括來說，在實施素質(zhì)教育的背景和信息化環(huán)境下，語文教學設計要以課程標準為依據(jù)，圍繞教學內(nèi)容進行、圍繞學生年齡進行、圍繞易用生動進行，以科學性為指導，以實踐性為核心，以生動性來激發(fā)學生的學習興趣，誘發(fā)學生思維和學習的主動性，把德、智、美、情、境、意、聲、形、色融于一爐，課堂教學的演繹中，使學生領會知識，學會學習，主動發(fā)展。

──────── 【參考文獻】

1、《中共中央國務院關于深化教育改革全面推進素質(zhì)教育決定》·北京·人民教育·1999、7

2、《全日制義務教育·語文課程標準》·教育部·北京師范大學出版社·2001

3、《義務教育課程標準實驗教科書 語文 一年級下冊》·人民教育版社·2001、12

4、《義務教育課程標準實驗教科書 語文 一年級下冊教師教學用書》·人民教育出版社·2001、12

5、《現(xiàn)代教育技術應用基礎》·合肥·安徽教育出版社·2000 【《春曉》一課設計的六個步驟】

《春曉》是一篇古詩文。古詩，有別于其文體，它語言凝煉含蓄、想象豐富，并且具有強烈的節(jié)奏感和優(yōu)雅的韻律美。須有一定的文學素養(yǎng)，求其形體且難，解其神韻則更不易，而將其授之兒童，以一堂課的時限，達到其形，明其意，會其神之目標，豈不難于上青天?而我借助于多媒體教學，展示情境，點化含義，學生如身臨其境，教者借學生情，情境交融，神情隨感覺而動，于是神韻由情感而生，本篇課文的重點、難點隨多媒體教學的意趣而解。一幅百花爭艷、百鳥爭鳴的春景，流入學生惜春、愛美、賞心悅目愉快的心田。為突破這一重點和完成常規(guī)教學目標，我按以下六個步驟進行：

第一步：動畫激趣

分別演示四幅動畫，伴以優(yōu)美的音樂，使學生耳目一新，興趣諧厚，注意力集中，在享受中初步感知整首詩蘊含的詩情畫意。

第二步：潤畫引詩 在感知動畫的基礎上，再由每一幅畫面分別引出四句詩，最后展示全文，由局部到整體，由具體到抽象，這樣設計合乎低年級學生以具體形象思維，為主要形式的思維特點和由淺入深，循序漸進的教學規(guī)律。

第三步：朗讀體會

引導學生通朗讀，進一步感受整首詩，為下面學習生字，理解詩意打基礎。

第四步：掌握生字

識字是閱讀、寫作的基礎，是小學語文特別是低年級語文教學中一項極其重要的任務。識字，要能讀準字音，辨清字形，按其筆劃順序書寫，更重要的是能理解其意靈活運用，我利用多媒體教學的快捷性，生動性優(yōu)勢，設計了注音、讀音、筆順、組詞等多媒體方式，從而輕易地實現(xiàn)了準確掌握、活用字詞。

第五步：讀背詩文

根據(jù)詩歌的音韻特點，詩歌教學中，朗讀是不可或缺的重要一環(huán)。通過不同形式的誦讀，不僅能從中感受到詩歌的節(jié)奏美和音韻美，品嘗中國古代詩歌別有的風味，而且能實現(xiàn)更深層次的理解，歷史中的現(xiàn)實、現(xiàn)實中的意境、意境中的神韻：──“作者胸有境，心境始與親”。朗讀時，我除注意指導節(jié)奏和音韻外，還要求學生在腦海浮現(xiàn)《春曉》的多媒體的動畫意境。第六步：想象復述

古詩語言精煉含蓄，教學中只有引導學生展開聯(lián)想和想象，才能領會詩的內(nèi)涵，體驗詩的情味。因此，復述時我注意指導學生放飛想象的翅膀，超越時空限制，描繪《春曉》多媒體動畫中的情境。同時，指導學生感悟詩中蘊含的歷史背景、作者的情感。使學生與作者的感情達到共鳴。結(jié)合提問：看到如此美麗的春色，作者有何感受呢?鮮花被風雨吹打在地作者又會怎樣?我們平時應如何對待我們周圍的花草樹木呢?還可以進一步加強環(huán)保的思想教育?；夭樽值涫醉?>

返

第四篇：以角色為話題的作文600字

以角色為話題的作文600字

一歲時，你們是我的天使。當我呱呱來到人世間，就已經(jīng)注定將伴隨你們一生一世。你們天天呵護我，喂奶、換尿布、幫我洗澡、抱我散步，這都是為了讓我能健康成長，讓我不哭不鬧。我相信，你們一定是上帝派給我的天使。兩三歲，你們是我的啟蒙老師。你們耐心地教我唱歌、跳舞、畫畫、念唐詩??我開始好奇周圍的世界，每天都有數(shù)不清的問號。這，開啟了我一生中的知識大門，是塊永久發(fā)光的寶石。四五歲，你們是我的收音機。夜晚，臨睡前的幸福時刻，就是聽你們娓娓道來動人的故事。我總是拼命睜著雙眼，生怕自己睡著，別錯過了精彩的片段。白天，一本本五花八門的識字圖片書，是我的餐前小吃。一堆堆五顏六色的積木，是我的開胃大餐。六七歲，你們是打開我心靈的鑰匙。我突然覺得自己的腦袋原來那么好使，那么有用。世界原來那么大，有那么多的學問。當鮮艷的紅領巾飄揚在胸前，我邁出了人生的第一步。八九歲，你們變成了我的老虎。我開始煩惱，開始覺得你們好不講理，總愛約束我。這個班，那個班，我被無形的線牽絆著左右。功課排在了第一，快樂的玩耍越來越少。我知道這些都是為了我好，但是，我害怕你們嚴厲的目光，多么希望你們的教導能夠溫柔一些。十歲十一歲，你們又成了我的上帝。為了我，你們常常爭得面紅耳赤。最后，還是會覺得我不夠爭氣，我的心里好不是滋味。為了心愛的游戲，為了糟糕的分數(shù)，有時候，我竟然默默地說：“我狠你們”。因為，我有我自己的思想、獨立的靈魂。在我的小小世界里，我嘗試著長大，卻依然希望能永遠活在那美妙的童話世界里。后來，我發(fā)現(xiàn)，你們是我生命的重點。你們用心良苦，讓我學會如何在風雨中堅強，如何在困難面前永不言敗。這一生，你們扮演的角色太多了，而這一切都是為了我。我能做的，可能只是僅僅道一聲：“謝謝你們，爸爸、媽媽?！?我，擁有著你們無私的愛，永遠是你們手心里的寶。我將帶著這份感激，帶著七彩的夢想，學會慢慢長大。

第五篇：以“腦白金”為例——打造優(yōu)秀企業(yè)文化促發(fā)展

以“腦白金”為例——打造優(yōu)秀企業(yè)文化促發(fā)展

保健品是為人們生活帶來健康的產(chǎn)品。在國民生活水平不斷變好的今天，中國保健品行業(yè)一片繁榮，每年保健品行業(yè)所貢獻的稅收達幾十億之多。但保健品行業(yè)的良莠不齊，偽劣保健品的存在，侵犯著消費者的切身利益，甚至造成服用者的健康受損。保健品企業(yè)構(gòu)建起良好的行業(yè)素質(zhì)、企業(yè)文化迫在眉睫。什么樣的企業(yè)才是好企業(yè)，什么樣的企業(yè)才能創(chuàng)造好產(chǎn)品？十七年來暢銷中國的保健品龍頭腦白金值得眾多行業(yè)同仁學習。

腦白金的企業(yè)文化打造

一、關愛大眾，眼光高遠，做有原則的企業(yè)有原則的產(chǎn)品 公司使命：以優(yōu)質(zhì)的產(chǎn)品和服務，關懷大眾健康 企業(yè)愿景：創(chuàng)百億產(chǎn)值，建百年基業(yè)

中國保健品行業(yè)發(fā)展時間并不算短，產(chǎn)品不算少，但能夠在行業(yè)里立住腳的產(chǎn)品并不多，腦白金為什么會成功？原因很簡單，腦白金不是單純的做營銷工程，不是為了品牌知名度而去做品牌，不是為了追求短期利潤而去做產(chǎn)品，而是把關愛千千萬萬的普通老百姓的身體健康作為公司的使命，把打造百年民族品牌作為公司的目標，腦白金從一開始就為整個保健品市場樹立了一個行業(yè)的標桿。民眾的眼睛是雪亮的，只有真正有原則，真正為老百姓著想的產(chǎn)品才能夠存活下來。腦白金就是這樣的例子。

二、以人文本，認真負責，企業(yè)文化促進腦白金好發(fā)展

腦白金公司20年發(fā)展，深刻總結(jié)經(jīng)驗教訓，形成了“以人為本”、獨具腦白金公司特色的企業(yè)價值觀：

1、只認功勞，不認苦勞

干工作，目標明，分主次，抓效率，追求大業(yè)績，不做無用功。

2、說到做到，做不到不說

為人誠，講信用，言必行，行必果，不輕諾，不寡信，食了言，失威信。

3、嚴于律己，寬以待人

對自己，要自控，高標準，嚴要求，提修養(yǎng)，求上進，做表率，奉獻多，發(fā)展快； 對同事，要尊重，少計較，多寬容，講團隊，多協(xié)助，學人長，補己短，求共進！

4、敢于承擔個人責任

不抱怨，不推諉，有勇氣，有魄力，克困難，善攻堅，勇承重擔，敢負責任，我以負責而自豪。

5、艱苦奮斗，敬業(yè)樂業(yè)

不鋪張，不浪費，公司利益放首位，控成本，創(chuàng)效益，提高企業(yè)競爭力； 把個人發(fā)展融入企業(yè)發(fā)展，積極主動，全情投入，事事認真，力求完美；

把現(xiàn)在的工作納入終生的事業(yè)，培養(yǎng)興趣，營造情趣，享受樂趣，平衡生活與健康，追求事業(yè)有成、身心快樂！

腦白金的公司內(nèi)刊

1、《巨人報》：記錄腦白金的企業(yè)進程。為企業(yè)內(nèi)部樹立主導輿論，從企業(yè)總部到全國分支機構(gòu)，上下溝通，彰顯進步，鞭策落后。傳播先進經(jīng)驗，溝通企業(yè)成員，反映一線呼聲，增強企業(yè)大團隊的凝聚力和戰(zhàn)斗力，做到鼓勵組織內(nèi)部正式溝通，塑造企業(yè)形象。

2、《健康金生》：服務和維系腦白金全國消費者。提供給消費者的健康知識讀物，貼近消費者，滿足消費者對健康、生活等方面的知識需要，提供一年四季的健康保健知識，成為腦白金企業(yè)售后服務工作中的重要一環(huán)。

透視腦白金的企業(yè)文化，我們深切地感受到腦白金通過樹立正確的企業(yè)目標，把員工緊緊地團結(jié)在一起，形成了強大的向心力，同時對于腦白金的客戶、消費者以及社會大眾都有很大引力。在同樣的條件下，沒有哪個優(yōu)秀的人才不愿意去腦白金工作，也沒有哪個消費者不愿意去購買腦白金這樣的好企業(yè)的產(chǎn)品。腦白金在這方面為保健品企業(yè)起到了一個很好的示范和榜樣。

三、腦白金追求卓越，多方位打造行業(yè)龍頭

最好的健康產(chǎn)品，這是過去我們?nèi)〉贸晒Φ淖罴羊炞C；

最好的營銷網(wǎng)絡，這是現(xiàn)在和未來我們和所有合作伙伴必定取得成功的法寶； 最好的團隊平臺，這是我們持續(xù)長久發(fā)展，并最終實現(xiàn)企業(yè)目標的重要保障。

最好的營銷網(wǎng)絡

上海黃金搭檔生物科技有限公司（腦白金為其旗下的代表產(chǎn)品之一）在全國省會城市和中心城市設立了36個分公司和145個辦事處，由總公司直接管理，在657個小型地級市和富?？h鎮(zhèn)設代表處，由分公司或辦事處管理。公司直屬的服務性機構(gòu)已經(jīng)滲透至除港、澳、臺、西藏以外的所有地區(qū)。公司十多年積累下的各種資源——網(wǎng)絡資源、人才資源和營銷資源，可以轉(zhuǎn)化成中國最大的消費品專業(yè)營銷平臺，其價值空間是無限的。

最好的團隊平臺

上海黃金搭檔生物科技有限公司在中國市場營銷方面積累了豐富的實踐經(jīng)驗。作為一個行業(yè)的引領者，黃金搭檔一直致力于傳播孝文化、和文化以及家文化，腦白金持續(xù)暢銷，已成為消費品行業(yè)和各類商學院借鑒和分析的案例。公司在管理上注重精準和細化，注重創(chuàng)新與實踐，注重整合與優(yōu)化，充分調(diào)動各級員工的主動性和積極性，打造了一支中國保健品領域最優(yōu)秀的隊伍，而這也是公司立足于中國健康產(chǎn)業(yè)最大的財富。

四、腦白金的成長歷程 1997年，腦白金上市；

2000年，腦白金銷售8.01億元；

2001年，腦白金位列保健品全國銷量第一； 2003年，腦白金銷量突破1億瓶；

2004年，腦白金權(quán)威人體試驗；

2005年，腦白金央視“誠信廣告主獎”； 2008年，腦白金銷量突破100億元； 2010年，腦白金授予 “中國馳名商標”； 2011年，腦白金生產(chǎn)工藝進大學教材； 2014年，腦白金市場份額高達10.13%； 2015年，再創(chuàng)輝煌。

卓越的發(fā)展來自卓越的精神，腦白金以其優(yōu)越的企業(yè)文化，培養(yǎng)優(yōu)秀的負責任的人才，構(gòu)建精良的腦白金管理機制，完善產(chǎn)品質(zhì)量監(jiān)控機制，讓品質(zhì)最優(yōu)的產(chǎn)品到達消費者的手中。腦白金的企業(yè)文化，促成了腦白金企業(yè)、員工、產(chǎn)品、消費者之間的良性循環(huán)網(wǎng)絡。讓腦白金在保健品行業(yè)十七年屹立不倒。

作為保健品企業(yè)發(fā)展的經(jīng)典案例，望行業(yè)同仁們?nèi)〗?jīng)借鑒，共促保健品行業(yè)的繁榮發(fā)展、讓消費者切實享受保健品帶來的健康生活！