【英语教学】原著阅读(1509)
英语阅读教学PPT课件
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阅读能力级别
❖ 六级 读
❖ 1．能从一般文字资料中获取主要信息；
❖ 2．能利用上下文和句子结构猜测词义；
❖ 3．能根据上下文线索预测故事情节的发展；
❖ 4．能根据阅读目的使用不同的阅读策略；
形成的，它是在长期的读书实践中逐步培养起来的。 同其他知识积累一样，阅读能力的养成有一个从低 级到高级的渐近过程。
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阅读能力的几方面
❖ 感性认知能力，即对文章表面的理解能力。 能弄懂 词、句所表达的基本意思，能对所写内容进行复述。 这种能力只是最低级的阅读能力。
❖ 内在关系的理解能力。能理清文章的内容和结构上 的各种关系，进一步探求和把握语言的深层含意， 善于捕捉作者在字里行间隐含的“言外之意”。阅 读如果不具备这种对深层含意的分析和把握能力， 往往不能全面理解文章的中心，不能准确地体会作 者的思想感情，也就是没有真正读懂文章。
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阅读能力级别
❖ 八级 读
❖ 1．能识别不同文体的特征；
❖ 2．能通过分析句子结构理解难句和长句；
❖ 3．能理解阅读材料中不同的观点和态度；
❖ 4．能根据学习任务的需要从多种媒体中获取 信息并进行加工处理；
❖ 5．能在教师的帮助下欣赏浅显的文学作品；
❖ 6．除教材外，课外阅读量应累计达到33万词
学识。
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目前常用的授课方法
❖ 任务型 ❖ 交际法 ❖ 模拟法 ❖ 表演法 ❖ 问答型 ❖ 小组讨论
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阅读形式
❖ 精读intensive reading与泛读extensive reading
高中英语整本书阅读教学实践探究——以《夏洛的网》为例
2021·02恰当的开展整本书阅读有助于培养学生核心素养。
为此，本文以英文原著小说《夏洛的网》实践教学为例，从静默阅读、分享交流、评判创造和总结评价四个角度进行教学模式的探究，为高中英语开展整本书阅读教学提供了实践范例。
摘要关键词整本书；阅读；教学实践；《夏洛的网》《普通高中英语课程标准（2017年版）》（以下简称《课标》）对高中阶段英语阅读量明确提出要求，必修阶段的每周课外阅读量不少于1500词，总量不少于4.5万词。
语言以文章承载，在阅读过程中，学生不断扩大语言知识储备，提高语言运用能力，培养批判性、创造性等思维品质，发展文化意识。
然而，阅读教学的现状不容乐观。
长期以来，“浅表式阅读、单项式阅读和标准化阅读的问题层出不穷，严重影响了学生语言能力的提升和思维能力的培养，更无益于文化品格的发展”［1］。
随着新课程标准的实施，英语教学出现明显变化，教师逐渐重视在课堂中贯彻核心素养的要求，更加重视通过阅读培养学生的核心素养。
遗憾的是，专为高中生编写的阅读材料大多存在篇章偏短、完整性差、任务设计浅显等问题。
鉴于此，开展整本书阅读不仅可以增加阅读量，而且可以帮助学生养成良好阅读习惯，提高阅读能力，培养高阶思维品质，感受中外文化，促进综合语言能力的发展。
一、整本书阅读教学的现状1.阅读选材的局限性为了降低阅读难度，教师常选择英文名著的简写版。
简写版经过删减和改编，在一定程度上失去了原文的味道。
此外，因课时受限，有的教师会选择小说片段进行赏析，但小说从开端到结尾是完整的逻辑链条，开端埋伏笔，结尾藏呼应，只有完整地阅读才能体会作者所要传递的思想或者感受作者的情感态度。
教师可以依学情选择难度适合的英文原著，引导学生感受原汁原味的语言。
2.教学策略的局限性随着整本书阅读越来越融入课堂，传统阅读的教学策略不再适用。
现阶段的整本书阅读教学并未形成成熟的体系，教学策略未能有效促进整本书阅读，教师常困扰于阅读材料的选择、课时的安排、教学目标的设定、教学方法的使用等，教学效果参差不齐。
英语阅读-英文原著-The Sea-Gull(海鸥)
The Sea-Gull by Anton CheckovCHARACTERSIRINA ABKADINA, an actressCONSTANTINE TREPLIEFF, her sonPETER SORIN, her brotherNINA ZARIETCHNAYA, a young girl, the daughter of a rich landownerILIA SHAMRAEFF, the manager of SORIN'S estatePAULINA, his wifeMASHA, their daughterBORIS TRIGORIN, an authorEUGENE DORN, a doctorSIMON MEDVIEDENKO, a schoolmasterJACOB, a workmanA COOKA MAIDSERVANTThe scene is laid on SORIN'S estate. Two years elapse between the third and fourth acts.ACT IThe scene is laid in the park on SORIN'S estate. A broad avenue of trees leads away from the audience toward a lake which lies lost in the depths of the park. The avenue is obstructed by a rough stage, temporarily erected for the performance of amateur theatricals, and which screens the lake from view. There is a dense growth of bushes to the left and right of the stage. A few chairs and a little table are placed in front of the stage. The sun has just set. JACOB and some other workmen are heard hammering and coughing on the stage behind the lowered curtain.MASHA and MEDVIEDENKO come in from the left, returning from a walk.MEDVIEDENKO. Why do you always wear mourning?MASHA. I dress in black to match my life. I am unhappy.MEDVIEDENKO. Why should you be unhappy? [Thinking it over] I don't understand it. You are healthy, and though your father is not rich, he has a good competency. My life is far harder than yours. I only have twenty-three roubles a month to live on, but I don't wear mourning. [They sit down].MASHA. Happiness does not depend on riches; poor men are often happy.MEDVIEDENKO. In theory, yes, but not in reality. Take my case, for instance; my mother, my two sisters, my little brother and I must all live somehow on my salary of twenty-three roubles a month. We have to eat and drink, I take it. You wouldn't have us go without tea and sugar, would you? Or tobacco? Answer me that, if you can.MASHA. [Looking in the direction of the stage] The play will soon begin.MEDVIEDENKO. Yes, Nina Zarietchnaya is going to act in Treplieff's play. They love one another, and their two souls will unite to-night in the effort to interpret the same idea by different means. There is no ground on which your soul and mine can meet. I love you. Too restless and sad to stay at home, I tramp here every day, six miles and back, to be met only byyour indifference. I am poor, my family is large, you can have no inducement to marry a man who cannot even find sufficient food for his own mouth.MASHA. It is not that. [She takes snuff] I am touched by your affection, but I cannot return it, that is all. [She offers him the snuff-box] Will you take some?MEDVIEDENKO. No, thank you. [A pause.]MASHA. The air is sultry; a storm is brewing for to-night. You do nothing but moralise or else talk about money. To you, poverty is the greatest misfortune that can befall a man, but I think it is a thousand times easier to go begging in rags than to-- You wouldn't understand that, though.SORIN leaning on a cane, and TREPLIEFF come in.SORIN. For some reason, my boy, country life doesn't suit me, and I am sure I shall never get used to it. Last night I went to bed at ten and woke at nine this morning, feeling as if, from oversleep, my brain had stuck to my skull. [Laughing] And yet I accidentally dropped off to sleep again after dinner, and feel utterly done up at this moment. It is like a nightmare.TREPLIEFF. There is no doubt that you should live in town. [He catches sight of MASHA and MEDVIEDENKO] You shall be called when the play begins, my friends, but you must not stay here now. Go away, please.SORIN. Miss Masha, will you kindly ask your father to leave the dog unchained? It howled so last night that my sister was unable to sleep.MASHA. You must speak to my father yourself. Please excuse me; I can't do so. [To MEDVIEDENKO] Come, let us go.MEDVIEDENKO. You will let us know when the play begins?MASHA and MEDVIEDENKO go out.SORIN. I foresee that that dog is going to howl all night again. It is always this way in the country; I have never been able to live as I like here.I come down for a month's holiday, to rest and all, and am plagued so by their nonsense that I long to escape after the first day. [Laughing] I have always been glad to get away from this place, but I have been retired now,and this was the only place I had to come to. Willy-nilly, one must live somewhere.JACOB. [To TREPLIEFF] We are going to take a swim, Mr. Constantine.TREPLIEFF. Very well, but you must be back in ten minutes.JACOB. We will, sir.TREPLIEFF. [Looking at the stage] Just like a real theatre! See, there we have the curtain, the foreground, the background, and all. No artificial scenery is needed. The eye travels direct to the lake, and rests on the horizon. The curtain will be raised as the moon rises at half-past eight.SORIN. Splendid!TREPLIEFF. Of course the whole effect will be ruined if Nina is late. She should be here by now, but her father and stepmother watch her so closely that it is like stealing her from a prison to get her away from home. [He straightens SORIN'S collar] Your hair and beard are all on end. Oughtn't you to have them trimmed?SORIN. [Smoothing his beard] They are the tragedy of my existence. Even when I was young I always looked as if I were drunk, and all. Women have never liked me. [Sitting down] Why is my sister out of temper?TREPLIEFF. Why? Because she is jealous and bored. [Sitting down beside SORIN] She is not acting this evening, but Nina is, and so she has set herself against me, and against the performance of the play, and against the play itself, which she hates without ever having read it.SORIN. [Laughing] Does she, really?TREPLIEFF. Yes, she is furious because Nina is going to have a success on this little stage. [Looking at his watch] My mother is a psychological curiosity. Without doubt brilliant and talented, capable of sobbing over a novel, of reciting all Nekrasoff's poetry by heart, and of nursing the sick like an angel of heaven, you should see what happens if any one begins praising Duse to her! She alone must be praised and written about, raved over, her marvellous acting in "La Dame aux Camelias" extolled to the skies. As she cannot get all that rubbish in the country, she grows peevish and cross, and thinks we are all against her,and to blame for it all. She is superstitious, too. She dreads burning three candles, and fears the thirteenth day of the month. Then she is stingy. I know for a fact that she has seventy thousand roubles in a bank at Odessa, but she is ready to burst into tears if you ask her to lend you a penny.SORIN. You have taken it into your head that your mother dislikes your play, and the thought of it has excited you, and all. Keep calm; your mother adores you.TREPLIEFF. [Pulling a flower to pieces] She loves me, loves me not; loves--loves me not; loves--loves me not! [Laughing] You see, she doesn't love me, and why should she? She likes life and love and gay clothes, and I am already twenty-five years old; a sufficient reminder to her that she is no longer young. When I am away she is only thirty-two, in my presence she is forty-three, and she hates me for it. She knows, too, that I despise the modern stage. She adores it, and imagines that she is working on it for the benefit of humanity and her sacred art, but to me the theatre is merely the vehicle of convention and prejudice. When the curtain rises on that little thr ee-walled room, when those mighty geniuses, those high-priests of art, show us people in the act of eating, drinking, loving, walking, and wearing their coats, and attempt to extract a moral from their insipid talk; when playwrights give us under a thousand different guises the same, same, same old stuff, then I must needs run from it, as Maupassant ran from the Eiffel Tower that was about to crush him by its vulgarity.SORIN. But we can't do without a theatre.TREPLIEFF. No, but we must have it under a new form. If we can't do that, let us rather not have it at all. [Looking at his watch] I love my mother, I love her devotedly, but I think she leads a stupid life. She always has this man of letters of hers on her mind, and the newspapers are always frightening her to death, and I am tired of it. Plain, human egoism sometimes speaks in my heart, and I regret that my mother is a famous actress. If she were an ordinary woman I think I should be a happier man. What could be more intolerable and foolish than my position, Uncle, when I find myself the only nonentity among a crowd of her guests, all celebrated authors and artists? I feel that they only endure me because I am her son. Personally I am nothing, nobody. I pulled through my thirdyear at college by the skin of my teeth, as they say. I have neither money nor brains, and on my passport you may read that I am simply a citizen of Kiev. So was my father, but he was a well-known actor. When the celebrities that frequent my mother's drawing-room deign to notice me at all, I know they only look at me to measure my insignificance; I read their thoughts, and suffer from humiliation.SORIN. Tell me, by the way, what is Trigorin like? I can't understand him, he is always so silent.TREPLIEFF. Trigorin is clever, simple, well-mannered, and a little, I might say, melancholic in disposition. Though still under forty, he is surfeited with praise. As for his stories, they are--how shall I put it?-- pleasing, full of talent, but if you have read Tolstoi or Zola you somehow don't enjoy Trigorin.SORIN. Do you know, my boy, I like literary men. I once passionately desired two things: to marry, and to become an author. I have succeeded in neither. It must be pleasant to be even an insignificant author.TREPLIEFF. [Listening] I hear footsteps! [He embraces his uncle] I cannot live without her; even the sound of her footsteps is music to me. I am madly happy. [He goes quickly to meet NINA, who comes in at that moment] My enchantress! My girl of dreams!NINA. [Excitedly] It can't be that I am late? No, I am not late.TREPLIEFF. [Kissing her hands] No, no, no!NINA. I have been in a fever all day, I was so afraid my father would prevent my coming, but he and my stepmother have just gone driving. The sky is clear, the moon is rising. How I hurried to get here! How I urged my horse to go faster and faster! [Laughing] I am _so_ glad to see you! [She shakes hands with SORIN.]SORIN. Oho! Your eyes look as if you had been crying. You mustn't do that.NINA. It is nothing, nothing. Do let us hurry. I must go in half an hour. No, no, for heaven's sake do not urge me to stay. My father doesn't know I am here.TREPLIEFF. As a matter of fact, it is time to begin now. I must call the audience.SORIN. Let me call them--and all--I am going this minute. [He goes toward the right, begins to sing "The Two Grenadiers," then stops.] I was singing that once when a fellow-lawyer said to me: "You have a powerful voice, sir." Then he thought a moment and added, "But it is a disagreeable one!" [He goes out laughing.]NINA. My father and his wife never will let me come here; they call this place Bohemia and are afraid I shall become an actress. But this lake attracts me as it does the gulls. My heart is full of you. [She glances about her.]TREPLIEFF. We are alone.NINA. Isn't that some one over there?TREPLIEFF. No. [They kiss one another.]NINA. What is that tree?TREPLIEFF. An elm.NINA. Why does it look so dark?TREPLIEFF. It is evening; everything looks dark now. Don't go away early, I implore you.NINA. I must.TREPLIEFF. What if I were to follow you, Nina? I shall stand in your garden all night with my eyes on your window.NINA. That would be impossible; the watchman would see you, and Treasure is not used to you yet, and would bark.TREPLIEFF. I love you.NINA. Hush!TREPLIEFF. [Listening to approaching footsteps] Who is that? Is it you, Jacob?JACOB. [On the stage] Yes, sir.TREPLIEFF. To your places then. The moon is rising; the play must commence.NINA. Yes, sir.TREPLIEFF. Is the alcohol ready? Is the sulphur ready? There must be fumes of sulphur in the air when the red eyes shine out. [To NINA] Go, now, everything is ready. Are you nervous?NINA. Yes, very. I am not so much afraid of your mother as I am ofTrigorin. I am terrified and ashamed to act before him; he is so famous. Is he young?TREPLIEFF. Yes.NINA. What beautiful stories he writes!TREPLIEFF. [Coldly] I have never read any of them, so I can't say.NINA. Your play is very hard to act; there are no living characters in it.TREPLIEFF. Living characters! Life must be represented not as it is, but as it ought to be; as it appears in dreams.NINA. There is so little action; it seems more like a recitation. I think love should always come into every play.NINA and TREPLIEFF go up onto the little stage; PAULINA and DORN come in.PAULINA. It is getting damp. Go back and put on your goloshes.DORN. I am quite warm.PAULINA. You never will take care of yourself; you are quite obstinate about it, and yet you are a doctor, and know quite well that damp air is bad for you. You like to see me suffer, that's what it is. You sat out on the terrace all yesterday evening on purpose.DORN. [Sings]"Oh, tell me not that youth is wasted."PAULINA. You were so enchanted by the conversation of Madame Arkadina that you did not even notice the cold. Confess that you admire her.DORN. I am fifty-five years old.PAULINA. A trifle. That is not old for a man. You have kept your looks magnificently, and women still like you.DORN. What are you trying to tell me?PAULINA. You men are all ready to go down on your knees to an actress, all of you.DORN. [Sings]"Once more I stand before thee."It is only right that artists should be made much of by society and treated differently from, let us say, merchants. It is a kind of idealism.PAULINA. When women have loved you and thrown themselves at your head, has that been idealism?DORN. [Shrugging his shoulders] I can't say. There has been a great deal that was admirable in my relations with women. In me they liked, above all, the superior doctor. Ten years ago, you remember, I was the only decent doctor they had in this part of the country--and then, I have always acted like a man of honour.PAULINA. [Seizes his hand] Dearest!DORN. Be quiet! Here they come.ARKADINA comes in on SORIN'S arm; also TRIGORIN, SHAMRAEFF, MEDVIEDENKO, and MASHA.SHAMRAEFF. She acted most beautifully at the Poltava Fair in 1873; she was really magnificent. But tell me, too, where Tchadin the comedian is now? He was inimitable as Rasplueff, better than Sadofski. Where is he now?ARKADINA. Don't ask me where all those antediluvians are! I know nothing about them. [She sits down.]SHAMRAEFF. [Sighing] Pashka Tchadin! There are none left like him. The stage is not what it was in his time. There were sturdy oaks growing on it then, where now but stumps remain.DORN. It is true that we have few dazzling geniuses these days, but, on the other hand, the average of acting is much higher.SHAMRAEFF. I cannot agree with you; however, that is a matter of taste, _de gustibus._Enter TREPLIEFF from behind the stage.ARKADINA. When will the play begin, my dear boy?TREPLIEFF. In a moment. I must ask you to have patience.ARKADINA. [Quoting from Hamlet] My son,"Thou turn'st mine eyes into my very soul; And there I see such black grained spots As will not leave their tinct."[A horn is blown behind the stage.]TREPLIEFF. Attention, ladies and gentlemen! The play is about to begin. [A pause] I shall commence. [He taps the door with a stick, and speaks in a loud voice] O, ye time-honoured, ancient mists that drive atnight across the surface of this lake, blind you our eyes with sleep, and show us in our dreams that which will be in twice ten thousand years!SORIN. There won't be anything in twice ten thousand years.TREPLIEFF. Then let them now show us that nothingness.ARKADINA. Yes, let them--we are asleep.The curtain rises. A vista opens across the lake. The moon hangs low above the horizon and is reflected in the water. NINA, dressed in white, is seen seated on a great rock.NINA. All men and beasts, lions, eagles, and quails, horned stags, geese, spiders, silent fish that inhabit the waves, starfish from the sea, and creatures invisible to the eye--in one word, life--all, all life, completing the dreary round imposed upon it, has died out at last. A thousand years have passed since the earth last bore a living creature on her breast, and the unhappy moon now lights her lamp in vain. No longer are the cries of storks heard in the meadows, or the drone of beetles in the groves of limes. All is cold, cold. All is void, void, void. All is terrible, terrible-- [A pause] The bodies of all living creatures have dropped to dust, and eternal matter has transformed them into stones and water and clouds; but their spirits have flowed together into one, and that great world-soul am I! In me is the spirit of the great Alexander, the spirit of Napoleon, of Caesar, of Shakespeare, and of the tiniest leech that swims. In me the consciousness of man has joined hands with the instinct of the animal; I understand all, all, all, and each life lives again in me.[The will-o-the-wisps flicker out along the lake shore.]ARKADINA. [Whispers] What decadent rubbish is this?TREPLIEFF. [Imploringly] Mother!NINA. I am alone. Once in a hundred years my lips are opened, my voice echoes mournfully across the desert earth, and no one hears. And you, poor lights of the marsh, you do not hear me. You are engendered at sunset in the putrid mud, and flit wavering about the lake till dawn, unconscious, unreasoning, unwarmed by the breath of life. Satan, father of eternal matter, trembling lest the spark of life should glow in you, has ordered an unceasing movement of the atoms that compose you, and so you shift and change for ever. I, the spirit of the universe, I alone amimmutable and eternal. [A pause] Like a captive in a dungeon deep and void, I know not where I am, nor what awaits me. One thing only is not hidden from me: in my fierce and obstinate battle with Satan, the source of the forces of matter, I am destined to be victorious in the end. Matter and spirit will then be one at last in glorious harmony, and the reign of freedom will begin on earth. But this can only come to pass by slow degrees, when after countless eons the moon and earth and shining Sirius himself shall fall to dust. Until that hour, oh, horror! horror! horror! [A pause. Two glowing red points are seen shining across the lake] Satan, my mighty foe, advances; I see his dread and lurid eyes.ARKADINA. I smell sulphur. Is that done on purpose?TREPLIEFF. Yes.ARKADINA. Oh, I see; that is part of the effect.TREPLIEFF. Mother!NINA. He longs for man--PAULINA. [To DORN] You have taken off your hat again! Put it on, you will catch cold.ARKADINA. The doctor has taken off his hat to Satan father of eternal matter--TREPLIEFF. [Loudly and angrily] Enough of this! There's an end to the performance. Down with the curtain!ARKADINA. Why, what are you so angry about?TREPLIEFF. [Stamping his foot] The curtain; down with it! [The curtain falls] Excuse me, I forgot that only a chosen few might write plays or act them. I have infringed the monopoly. I-- I---He would like to say more, but waves his hand instead, and goes out to the left.ARKADINA. What is the matter with him?SORIN. You should not handle youthful egoism so roughly, sister.ARKADINA. What did I say to him?SORIN. You hurt his feelings.ARKADINA. But he told me himself that this was all in fun, so I treated his play as if it were a comedy.SORIN. Nevertheless---ARKADINA. Now it appears that he has produced a masterpiece, if you please! I suppose it was not meant to amuse us at all, but that he arranged the performance and fumigated us with sulphur to demonstrate to us how plays should be written, and what is worth acting. I am tired of him. No one could stand his constant thrusts and sallies. He is a wilful, egotistic boy.SORIN. He had hoped to give you pleasure.ARKADINA. Is that so? I notice, though, that he did not choose an ordinary play, but forced his decadent trash on us. I am willing to listen to any raving, so long as it is not meant seriously, but in showing us this, he pretended to be introducing us to a new form of art, and inaugurating a new era. In my opinion, there was nothing new about it, it was simply an exhibition of bad temper.TRIGORIN. Everybody must write as he feels, and as best he may.ARKADINA. Let him write as he feels and can, but let him spare me his nonsense.DORN. Thou art angry, O Jove!ARKADINA. I am a woman, not Jove. [She lights a cigarette] And I am not angry, I am only sorry to see a young man foolishly wasting his time. I did not mean to hurt him.MEDVIEDENKO. No one has any ground for separating life from matter, as the spirit may well consist of the union of material atoms. [Excitedly, to TRIGORIN] Some day you should write a play, and put on the stage the life of a schoolmaster. It is a hard, hard life.ARKADINA. I agree with you, but do not let us talk about plays or atoms now. This is such a lovely evening. Listen to the singing, friends, how sweet it sounds.PAULINA. Yes, they are singing across the water. [A pause.]ARKADINA. [To TRIGORIN] Sit down beside me here. Ten or fifteen years ago we had music and singing on this lake almost all night. There are six houses on its shores. All was noise and laughter and romance then, such romance! The young star and idol of them all in those days was this man here, [Nods toward DORN] Doctor Eugene Dorn. He is fascinating now, but he was irresistible then. But my conscience isbeginning to prick me. Why did I hurt my poor boy? I am uneasy about him. [Loudly] Constantine! Constantine!MASHA. Shall I go and find him?ARKADINA. If you please, my dear.MASHA. [Goes off to the left, calling] Mr. Constantine! Oh, Mr. Constantine!NINA. [Comes in from behind the stage] I see that the play will never be finished, so now I can go home. Good evening. [She kisses ARKADINA and PAULINA.]SORIN. Bravo! Bravo!ARKADINA. Bravo! Bravo! We were quite charmed by your acting. With your looks and such a lovely voice it is a crime for you to hide yourself in the country. You must be very talented. It is your duty to go on the stage, do you hear me?NINA. It is the dream of my life, which will never come true.ARKADINA. Who knows? Perhaps it will. But let me present Monsieur Boris Trigorin.NINA. I am delighted to meet you. [Embarrassed] I have read all your books.ARKADINA. [Drawing NINA down beside her] Don't be afraid of him, dear. He is a simple, good-natured soul, even if he is a celebrity. See, he is embarrassed himself.DORN. Couldn't the curtain be raised now? It is depressing to have it down.SHAMRAEFF. [Loudly] Jacob, my man! Raise the curtain!NINA. [To TRIGORIN] It was a curious play, wasn't it?TRIGORIN. Very. I couldn't understand it at all, but I watched it with the greatest pleasure because you acted with such sincerity, and the setting was beautiful. [A pause] There must be a lot of fish in this lake.NINA. Yes, there are.TRIGORIN. I love fishing. I know of nothing pleasanter than to sit on a lake shore in the evening with one's eyes on a floating cork.NINA. Why, I should think that for one who has tasted the joys of creation, no other pleasure could exist.ARKADINA. Don't talk like that. He always begins to flounder when people say nice things to him.SHAMRAEFF. I remember when the famous Silva was singing once in the Opera House at Moscow, how delighted we all were when he took the low C. Well, you can imagine our astonishment when one of the church cantors, who happened to be sitting in the gallery, suddenly boomed out: "Bravo, Silva!" a whole octave lower. Like this: [In a deep bass voice] "Bravo, Silva!" The audience was left breathless. [A p ause.] DORN. An angel of silence is flying over our heads.NINA. I must go. Good-bye.ARKADINA. Where to? Where must you go so early? We shan't allow it.NINA. My father is waiting for me.ARKADINA. How cruel he is, really. [They kiss each other] Then I suppose we can't keep you, but it is very hard indeed to let you go.NINA. If you only knew how hard it is for me to leave you all.ARKADINA. Somebody must see you home, my pet.NINA. [Startled] No, no!SORIN. [Imploringly] Don't go!NINA. I must.SORIN. Stay just one hour more, and all. Come now, really, you know.NINA. [Struggling against her desire to stay; through her tears] No, no, I can't. [She shakes hands with him and quickly goes out.]ARKADINA. An unlucky girl! They say that her mother left the whole of an immense fortune to her husband, and now the child is penniless because the father has already willed everything away to his second wife. It is pitiful.DORN. Yes, her papa is a perfect beast, and I don't mind saying so--it is what he deserves.SORIN. [Rubbing his chilled hands] Come, let us go in; the night is damp, and my legs are aching.ARKADINA. Yes, you act as if they were turned to stone; you can hardly move them. Come, you unfortunate old man. [She takes his arm.] SHAMRAEFF. [Offering his arm to his wife] Permit me, madame.SORIN. I hear that dog howling again. Won't you please have it unchained, Shamraeff?SHAMRAEFF. No, I really can't, sir. The granary is full of millet, and I am afraid thieves might break in if the dog were not there. [Walking beside MEDVIEDENKO] Yes, a whole octave lower: "Bravo, Silva!" and he wasn't a singer either, just a simple church cantor.MEDVIEDENKO. What salary does the church pay its singers? [All go out except DORN.]DORN. I may have lost my judgment and my wits, but I must confess I liked that play. There was something in it. When the girl spoke of her solitude and the Devil's eyes gleamed across the lake, I felt my hands shaking with excitement. It was so fresh and naive. But here he comes; let me say something pleasant to him.TREPLIEFF comes in.TREPLIEFF. All gone already?DORN. I am here.TREPLIEFF. Masha has been yelling for me all over the park. An insufferable creature.DORN. Constantine, your play delighted me. It was strange, of course, and I did not hear the end, but it made a deep impression on me. You have a great deal of talent, and must persevere in your work.TREPLIEFF seizes his hand and squeezes it hard, then kisses him impetuously.DORN. Tut, tut! how excited you are. Your eyes are full of tears. Listen to me. You chose your subject in the realm of abstract thought, and you did quite right. A work of art should invariably embody some lofty idea. Only that which is seriously meant can ever be beautiful. How pale you are!TREPLIEFF. So you advise me to persevere?DORN. Yes, but use your talent to express only deep and eternal truths.I have led a quiet life, as you know, and am a contented man, but if I should ever experience the exaltation that an artist feels during his moments of creation, I think I should spurn this material envelope of my soul and everything connected with it, and should soar away into heights。
英语阅读理解150篇(详解版)
目录Unit One---------------------------------------------------------------------------------------------1 PartA --------------------------------------------------------------------------------------------1Text 1儿童教育和沟通结合-----------------------------------------------------------------1Text 2克隆人和动物--------------------------------------------------------------------------6Text 3太阳系内速度限制--------------------------------------------------------------------11Text 4互联网和电脑等新型通讯技术的应用--------------------------------------------15 Part B盗窃--------------------------------------------------------------------------------------20Part C撒谎--------------------------------------------------------------------------------------25翻译技巧补充：英译汉概述（一）------------------------------------------------------29Unit Two----------------------------------------------------------------------------------------------32 Part A---------------------------------------------------------------------------------------------32Text 1加拿大社会的劣质服务---------------------------------------------------------------32 Text 2未来汽车---------------------------------------------------------------------------------36Text 3广告业是美国经济的晴雨表---------------------------------------------------------41 Text 4英国学业间断期------------------------------------------------------------------------46Part B生命进化历史---------------------------------------------------------------------------51Part C情感商机---------------------------------------------------------------------------------56翻译技巧补充：英译汉概述（二）------------------------------------------------------60Unit Three--------------------------------------------------------------------------------------------63 Part A---------------------------------------------------------------------------------------------63Text 1美、加之间贸易摩擦------------------------------------------------------------------63 Text 2现代人对维多利亚时代英国人的看法---------------------------------------------68 Text 3探讨时尚---------------------------------------------------------------------------------72Text 4基因检测法用于侦破案件------------------------------------------------------------76 Part B立法机构在制定法律过程中的作用------------------------------------------------81 Part C美国黑人文学---------------------------------------------------------------------------86翻译技巧补充：词义的选择----------------------------------------------------------------89Unit Four------------------------------------------------------------------------------------------------91 Part A-----------------------------------------------------------------------------------------------91Text 1五大湖环境状况--------------------------------------------------------------------------91 Text 2欧洲铁路-----------------------------------------------------------------------------------95 Text 3教师资格认证体系-----------------------------------------------------------------------99 Text 4美国食品药品管理局面临的困难-----------------------------------------------------105 Part B网上商务-----------------------------------------------------------------------------------110 Part C物种灭绝-----------------------------------------------------------------------------------116翻译技巧补充：词义的抽象与具体---------------------------------------------------------119 Unit Five--------------------------------------------------------------------------------------------------121 Part A-------------------------------------------------------------------------------------------------121 Text 1鸡蛋中培养流感疫苗-----------------------------------------------------------------------121 Text 2国际数学评估反映美国教育问题--------------------------------------------------------126 Text 3美国经济不景气----------------------------------------------------------------------------131 Text 4全国防止虐待儿童协会-------------------------------------------------------------------137 Part B经济学角度解决垃圾收集问题----------------------------------------------------------142 Part C个人发明和大企业组织的研究----------------------------------------------------------147 翻译技巧补充：词性的转换---------------------------------------------------------------------151Part A--------------------------------------------------------------------------------------------------153Text 1童工、教育和贫困--------------------------------------------------------------------------153 Text 2加州能源管制--------------------------------------------------------------------------------158 Text 3美国社会保障的私有化--------------------------------------------------------------------163 Text 4现代美容手术的普及-----------------------------------------------------------------------167 Part B演讲--------------------------------------------------------------------------------------------172 Part C幻听--------------------------------------------------------------------------------------------177翻译技巧补充：词汇的增译和减译------------------------------------------------------------180 Unit Seven-------------------------------------------------------------------------------------------------183 Part A----------------------------------------------------------------------------------------------------183 Text 1全球经济滞胀----------------------------------------------------------------------------------183 Text 2印度妇女受到性别歧视----------------------------------------------------------------------189 Text 3梦成现实----------------------------------------------------------------------------------------193 Text 4新的教育体制观念----------------------------------------------------------------------------198 Part B优秀的领导者----------------------------------------------------------------------------------202 Part C英国人是政治动物----------------------------------------------------------------------------208 翻译技巧补充：重复译----------------------------------------------------------------------------211 Unit Eight----------------------------------------------------------------------------------------------------213 Part A----------------------------------------------------------------------------------------------------213 Text 1外表的美与内在的美--------------------------------------------------------------------------213 Text 2生态环境与恐怖主义--------------------------------------------------------------------------218 Text 3网络信息安全性--------------------------------------------------------------------------------223 Text 4北美印第安音乐--------------------------------------------------------------------------------228 Part BB为青春期的变化做准备---------------------------------------------------------------------232 Part C地球日--------------------------------------------------------------------------------------------237翻译技巧补充：正义反译和反义正译-----------------------------------------------------------240 Unit Nine------------------------------------------------------------------------------------------------------242 Part A-----------------------------------------------------------------------------------------------------242 Text 1美国解除飞机上使用手机的禁令-----------------------------------------------------------242 Text 2环境预防原则-----------------------------------------------------------------------------------247 Text 3索尼公司的管理--------------------------------------------------------------------------------253 Text 4音乐与政治--------------------------------------------------------------------------------------258 Part B人类艺术与动物类似行为的区别----------------------------------------------------------263 Part C社会保障----------------------------------------------------------------------------------------270翻译技巧补充：分译与合译-----------------------------------------------------------------------273 Unit Ten-------------------------------------------------------------------------------------------------------276 Part A----------------------------------------------------------------------------------------------------276 Text 1戏剧包含的要素-------------------------------------------------------------------------------276 Text 2节省更多时间来工作的观念----------------------------------------------------------------280 Text 3巴西足球运动事业现状----------------------------------------------------------------------286 Text 4游戏领域女性工作人员很少----------------------------------------------------------------292 Part B面试----------------------------------------------------------------------------------------------297 Part C甘地的和平主义-------------------------------------------------------------------------------303翻译技巧补充：倒置法-----------------------------------------------------------------------------306 Unit Eleven--------------------------------------------------------------------------------------------------308Text 1企业绿色外衣现象---------------------------------------------------------------------------308 Text 2音乐物质文化---------------------------------------------------------------------------------313 Text 3肥胖问题---------------------------------------------------------------------------------------317 Text 4美国在联合国欠费问题---------------------------------------------------------------------323 Part B个人着装--------------------------------------------------------------------------------------327 Part C年轻的作家模仿莎士比亚----------------------------------------------------------------333翻译技巧补充：插入法---------------------------------------------------------------------------336 Unit Twelve-------------------------------------------------------------------------------------------------338 Part A---------------------------------------------------------------------------------------------------338 Text 1新闻如何吸引读者--------------------------------------------------------------------------338 Text 2星际网络--------------------------------------------------------------------------------------343 Text 3荷兰艺术家及其作品-----------------------------------------------------------------------347 Text 4艾滋病最新治疗思路-----------------------------------------------------------------------352 Part B成为成功的老板-----------------------------------------------------------------------------357 Part C经济学史--------------------------------------------------------------------------------------363翻译技巧补充：重组法----------------------------------------------------------------------------365全书答案汇总------------------------------------------------------------------------------------------368 张剑曾鸣编著《英语阅读理解150篇》Part ADirections:Read the following four texts. Answer the questions below each text by choosing A, B, C or D. Mark your answers on ANSWER SHEET 1. (40 points)Text 1No t long after the telephone was invented, I assume, a call was placed. The caller was a parent saying, “your child is bullying my child, and I want it stopped!” The bully's parent replied, “you must have the wrong number. My child is a little angel.”A trillion phone calls later, the conversation is the same. When children are teased or tyrannized, the parental impulse is to grab the phone and rant. But these days, as studies in the U.S. show bullying on the rise and parental supervision on the decline, researchers who study bullying say that calling moms and dads is more futile than ever. Such calls often lead to playground recriminations and don't really teach our kids any lessons about how to navigate the world and resolve conflicts.When you call parents, you want them to “extract the cruelty”from their bullying children, says Laura Kavesh, a child psychologist in Evanston, Illinois. “But many parents are blown away by the idea of their child being cruel. They won t believe it.”In a recent police department survey in Oak Harbor, Washington, 89% of local high school students said they had engaged in bullying behavior. Yet only 18% of parents thought their children would act as bullies.In a new U.S.PTA survey, 5% of parents support contacting other parents to deal with bullying. But many educators warn that those conversations can be misinterpreted, causing tempers to flare. Instead, they say, parents should get objective outsiders, like principals, to mediate.Meanwhile, if you get a call from a parent who is angry about your child's bullying, listen without getting defensive. That's what Laura McHugh of Castro Valley, California, did when a caller told her that her then 13-year-old son had spit in another boy's food.Her son had confessed, but the victim's mom “wanted to make sure my son hadn't given her son a nasty disease,” says McHugh, who apologized and promised to get her son tested for AIDS and other diseases. She knew the chance of contracting any disease this way was remote, but her promise calmed the mother and showed McHugh's son that his bad behaviour was being taken seriously. McHugh, founder of Parents Coach Kids, a group that teaches parenting skills, sent the mom the test results. All were negative.Remember: once you make a call, you might not like what you hear. If you have an itchy dialing finger, resist temptation. Put it in your pocket. ［419 words］1.The word “bullying” probably means______.［A］frightening and hurting ［B］teasing［C］behaving like a tyrant ［D］laughing at2. Calling to a bully's parent.______.［A］has long existed but changed its content ［B］is often done with careful thinking［C］often leads to blaming and misunderstanding ［D］is used to warn the child not to do it again3. According to the surveys in the U.S., _______.［A］bullying among adults is also rising［B］parents are not supervising their children well［C］parents seldom believe bullies［D］most parents resort to calling to deal with bullying4. When bullying occurs, parents should_______.［A］help the bulling child get rid of cruelty ［B］resort to the mediator［C］avoid getting too protective ［D］resist the temptation of callingura McHugh promised to get the bullied boy tested for diseases because________.［A］her son confessed to being wrong ［B］she was afraid to annoy the boy's parent［C］he was likely to be affected by these diseases［D］she wanted to teach her own son a lessonblow away *①to completely surprise sb., to affect intensely; overwhelm使大为惊讶；强烈影响，征服例：That concert blew me away.音乐会震撼了我。
英语原著小说初中阅读教案
教案：英语原著小说初中阅读教学一、教学目标1. 提高学生的英语阅读兴趣，培养良好的阅读习惯。
2. 通过阅读英语原著小说，提高学生的英语词汇量和语法水平。
3. 提升学生的英语思维能力和跨文化交际能力。
4. 增强学生对英语文化的理解和认知。
二、教学内容1. 英语原著小说：《小妇人》by路易莎·梅·奥尔科特2. 小说简介：讲述了19世纪美国马萨诸塞州一个普通家庭四个性格迥异的姐妹的成长故事。
三、教学安排1. 每周安排一节阅读课，共计16周，完成整本小说的阅读。
2. 在阅读前，向学生介绍小说的背景和作者，激发学生的阅读兴趣。
3. 在阅读过程中，引导学生关注小说的词汇、语法和表达方式，并进行适当的讲解和拓展。
4. 引导学生进行小组讨论和分享，提升学生的英语思维能力和跨文化交际能力。
5. 在阅读结束后，组织学生进行读后感的撰写和分享，增强学生对英语文化的理解和认知。
四、教学方法1. 任务驱动法：通过设定阅读任务，引导学生有目标地进行阅读，提高学生的阅读效果。
2. 互动式教学法：通过小组讨论和分享，引导学生主动参与阅读教学，提升学生的英语思维能力和跨文化交际能力。
3. 案例分析法：通过分析小说中的具体情节和人物，讲解相关的词汇和语法知识，提高学生的英语水平。
五、教学评价1. 阅读理解测试：在阅读过程中，定期进行阅读理解测试，评估学生的阅读效果。
2. 读后感撰写：在阅读结束后，要求学生撰写读后感，评估学生对小说的理解和感悟。
3. 小组讨论评价：在小组讨论和分享过程中，对学生的参与度和表现进行评价。
六、教学资源1. 英语原著小说：《小妇人》2. 相关参考资料：词汇卡片、语法讲解PPT、文化背景介绍等。
七、教学建议1. 教师应注重激发学生的阅读兴趣，营造轻松愉快的阅读氛围。
2. 教师应根据学生的实际情况，适当调整阅读速度和难度。
3. 教师应注重培养学生的阅读策略，如预测、推理、归纳等。
4. 教师应鼓励学生进行自主阅读，培养学生的独立思考能力。
The Boy in the St穿条纹睡衣的男孩英语经典原著研读高中英语人教版(2019)课外阅读
3.Why is Bruno reluctant to leave Berlin? Bruno is reluctant to leave Berlin because he loves his large, comfortable house which is close to his grandparents and accessible to his three good friends.
serious. 她厉声斥责他，站起来向他表明她是认真的。
佳句分享
动作描写
• He froze, unable to move for a moment. 他僵住了，一时动弹不得。 • He looked around the room without fully lifting his eyes up from
作品以二战为历史背景，9岁的布鲁诺随同
身为纳粹军官的父亲举家从柏林迁往纳粹
集中营附近，并和集中营里的男孩什穆埃
尔做了朋友。他们隔着铁丝网高兴地玩耍，
互相讲述着生活中的点点滴滴。铁丝网里
面的生活激起了布鲁诺的好奇心，于是他
内
穿上了条纹睡衣，从铁丝网下爬进了集中 营，命运从此发生了改变。
容
概
这本书以一种特殊的叙事方式进行故事
教学设计
Post-reading
人物是一个故事的灵魂，对人物的分析有助于深入理解故 事，作者通过布鲁诺这个纳粹军官的儿子串联起了众多人 物，教师可以指导学生把这些主要人物用思维导图的形式 记录下来，并在人物后面写上他们对战争的看法，或者对
指向读后续写的英语小说原著阅读教学实践研究-以夏洛的网CHAPTER5为例
指向读后续写的英语小说原著阅读教学实践研究-以夏洛的网CHAPTER 5为例摘要：读后续写要求学生能根据所给原文续写出情节合理、语言地道的文章，从而有效考查学生的语篇理解能力和综合语言运用能力。
笔者在日常英语教学中尝试开展英语文学作品的阅读活动以实现以读促写。
本文基于具体的课例，从以下几个层面探究如何通过英语文学作品阅读提升学生的读后续写能力。
理论及设计思路在心理学领域，以Pickering & Garrod （2004）为代表的学者通过研究对话的语言理解与产出过程中发现，人们在交际的过程中会发生协同现象，其表现形式之一是重复对方使用的语言结构。
当学习者与本族语者对话互动时，学习者的语言产出与自己的理解协同，同时也与对方的话语协同，因协同而产生拉平效应，因拉平而提高自己的语言水平。
基于以上理论，王初明教授（2010）认为外语学习的有效路径：互动-理解-协同-产出-习得。
那么学生在阅读优秀文学作品的过程就是一种互动的过程，即会产生协同效应。
学生对英语文学作品的语言理解能力与自身产出水平之间存在的前高后底的不对称，正是促进拉平效应的条件和提高语言产出水平的潜在动因。
在本次实践中，笔者主要从内容，主题意义，语言等三个方面实施阅读教学，希望借助文本这一高水平读物，让学生在多种语境变量共同作用下与文本深入互动，产出能力会逐渐与文本趋同，语言能力得到有效提升。
文本介绍：节选自《夏洛特的网》第五章。
其作为美国最伟大的 10 部儿童文学作品之首，是一部描写友情的童话—一只猪和一只蜘蛛的故事。
情节虽然简单，但蕴含着寓意深远的主题—生死、友情、承诺……在很多方面给予人类深刻的启示。
而第五章 Charlotte主要描述夏洛和威尔伯第一次见面的激动心情。
作者的笔锋简短有力，语言丰富、细腻，具有强烈的感染力，是具有拔高效果的阅读文本。
教学实践Step1：Watch and speak1)What is the video about ?设计说明：通过观看改编自该小说片段的电影视频，激发学生的兴趣和吸引注意力的同时，通过问题“what is it about ”来激活学生的先行感知，以图像刺激加深学生对文本的理解，为接下来把握故事的大意做好铺垫。
阅读教学设计教案全英
阅读教学设计教案全英Reading Instructional Design Lesson Plan教案主题：阅读教学设计Introduction:引言Reading is one of the essential skills that students should develop throughout their education. It not only helps students gain knowledge but also enhances their critical thinking and analytical abilities. To facilitate effective reading instruction, it is crucial to design well-structured lesson plans that cater to the needs of all students in the classroom. This instructional design lesson plan aims to provide teachers with a comprehensive framework to enhance reading skills in students.Section 1: Pre-Reading Activities第一部分：阅读前的活动1. Setting the Purpose (10 minutes)设定目的（10分钟）- Begin the lesson by asking students to brainstorm the reasons why reading is important. Encourage active participation and allow students to share their thoughts.- Engage students in a class discussion, highlighting the benefits of reading in various contexts, such as academic, personal growth, and career development.- Conclude the discussion by clarifying the purpose of the reading activity and how it aligns with the overall curriculum goals.2. Activating Prior Knowledge (15 minutes)激活既有知识（15分钟）- Present the reading passage or topic to the students, ensuring it is age-appropriate and aligns with their interests.- Ask students to recall any prior knowledge they have about the topic and share it with the class.- Facilitate a class discussion, guiding students to connect their previous knowledge with the upcoming reading activity. Encourage critical thinking and the formulation of hypotheses.- As a formative assessment, ask students to write down their predictions about the reading passage's content based on their prior knowledge.Section 2: During-Reading Activities第二部分：阅读中的活动1. Guided Reading (20 minutes)引导阅读（20分钟）- Introduce reading strategies and skills, such as skimming, scanning, and predicting, to the students.- Collaboratively read the text with the students, modeling the proper use of reading strategies. Pause at appropriate intervals to discuss key ideas, unfamiliar vocabulary, and comprehension questions.- Scaffold the reading process by providing verbal or written prompts to guide students' understanding and engagement with the text.- Encourage students to annotate the text, underline important information, and take notes for future reference.2. Group Discussions (15 minutes)小组讨论（15分钟）- Divide the class into small groups and assign specific sections of the reading passage to each group.- Instruct the groups to discuss their assigned sections, making connections, asking questions, and clarifying doubts within their group members.- Circulate among the groups, providing guidance and facilitating meaningful discussions.- After the group discussions, ask each group to share their main findings, insights, or questions with the whole class.Section 3: Post-Reading Activities第三部分：阅读后的活动1. Comprehension Checks (10 minutes)考察理解（10分钟）- Administer a short quiz or ask a series of comprehension questions to assess students' understanding of the reading passage.- Provide immediate feedback and address any misconceptions or confusion among the students.- Encourage students to reflect on their reading experience, analyzing the effectiveness of the strategies they employed and suggesting improvements for future reading activities.2. Extension Activities (20 minutes)拓展活动（20分钟）- Offer extension activities to enrich students' understanding and application of the reading content. These activities can include related writing assignments, research tasks, or presentations.- Differentiate the extension activities to cater to varying learning styles and abilities within the classroom.- Encourage collaborative work and facilitate peer feedback and evaluation.- Summarize the key takeaways from the reading activity and emphasize the importance of ongoing reading practice and habit-building.Conclusion:结论Designing an effective reading instructional plan requires thoughtful consideration of pre-reading, during-reading, and post-reading activities. By providing engaging activities, scaffolding learning, and facilitating meaningful discussions, teachers can enhance students' reading skills and foster a lifelong love for reading. This instructional design lesson plan serves as a valuable resource to guide educators in creating dynamic and effective reading lessons.。
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大家都来试试原著阅读教学
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最近我到北京八中，听了汪艳老师一节原著阅读课，感到很受启发。
她的学生高中两年，平均能读英美出版的原文小说十几本，最多的读了三十本，都是从网上邮购的。
平时以泛读为主，每周有一课时讲一讲，讨论讨论。
她的有了大量阅读经历的学生，对付一般的阅读理解测试题，轻而易举。
此外，说出的英语，流畅地道，写出的英语，也文从字顺。
无独有偶，北京四中初中部的老师，也在让学生读难度合适的原版小说。
仔细想一下，这种原著阅读课，好处还真多。
1、更多地接触了英语。
英语学习有什么诀窍？最重要的是接触越多学的越好。
而阅读是中国人学习英语的最好方式，因为我们缺少听说英语的环境。
不少老师现在还是以字词句为核心，记单词、背句型、抠语法、做练习、老师讲、学生练，死记硬背和题海战术。
教师应该转变观念，把使用英语放在第一位，让学生沉浸在英语的大海中。
2、适合大班教学的特点。
很多人似乎不知道，一个班五六十人，甚至七八十人，在直辖市之外的地区很普遍。
大班教学如何进行，是现实紧迫的课题。
人数众多，开展分组讨论，口语练习等活动就很难操作。
让个别人说了，大部分人则没机会。
而让大家共同读小说，人手一本，则人人有了同等使用英语的机会。
教师好管理，全班都受益。
这种教学方法也满足了不同层次的个性化需求。
好的老师应该是能领着差生慢慢行走，也能让尖子生飞跑起来。
小说阅读可以有硬性的规定，如精读的篇目，泛读的页数等，但好学生并没被捆死。
他们的自由度很大。
3、成功地克服了现行教材的不足。
会用教材的老师都是以我为主，创造性地使用教材，而不是照本宣科，墨守成规。
现在的教材，由于各种限制，版式设计越来越花哨，但文章比重太小，一个模块14页，文章只占两三页，阅读量太少。
只靠教材提高阅读能力，远远不够。
而读原版小说，就可以使学生成十倍
的扩大阅读量，从不同渠道，以不同形式接触英语，亲身感受英语的奥妙和英美民族的文化背景、生活习俗。
4、激发了兴趣，提高了自学能力
学生不爱学英语，最让人头疼。
如果他们学了一些英语，马上能用上，能和英美人交际，那学生就有了成就感，就乐意继续干。
原著阅读为学生开启了一扇大门，他们可以走进英美人的真实的世界，了解人家思想与生活的实际，这实在是一个巨大的诱惑。
难怪有的学生对老师安排一个月读完的东西，一周就读完了，因为他有了强烈的冲动。
原著阅读，把自主权交给了学生。
教师管的太死，孩子就缺乏创意。
包办太多，孩子就事事被动。
我们不少老师的课堂，完全以教师为主，全部课堂时间都由教师掌控，教师一直在讲，学生不停地听和记。
这种消极被动的方法只会产生对英语的厌烦和对教师的过分依赖。
5、有利于应试。
中学教师没有不惦记中考高考的。
对应试没利的事，老师们是不会干的，这是由大环境决定的。
有的老师担心，原著阅读，挤占了一些课上的时间，会不会影响中考和高考的分数。
实际情况是，不仅不会降低分数，还能提高成绩。
因为，现在的高考和中考都主要考查实际使用英语的能力，主要是阅读能力。
在教学中总是念念不忘语法体系的完整，词汇的全面分析，其实是对高考中考的误解。
好好看看近几年的高考英语试题吧。
研读之后，就会意识到原著阅读既然大大提高了学生的阅读能力和语言感觉，学生在面对各个题型时就会如鱼得水，驾轻就熟。
6、原著阅读提高了教师的英语水平与文化素养。
教师培养了学生，学生也影响着教师，相互作用。
中小学英语教师由于工作繁杂，业余时间好好看本英语小说的没几个人，这其实对教学很不利。
教学中搞原著阅读，就逼的老师自己先看，而且要比学生多看好几倍，因为你要帮学生选择作品。
除了自己阅读，教师还要为学生介绍作者和文化背景，这就需要对英美多方面情况的了解。
在与学生共读共享的过程中，教师的素养必然得到升华。
有这么多好处，请让你的学生也读一些原文作品吧。