2019-2020年高中英語(yǔ) Unit1 The phantom of the opera-reading教案 牛津上海版S1B.doc

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2019-2020年高中英語(yǔ) Unit1 The phantom of the opera-reading教案 牛津上海版S1B 一、 章節(jié)分析（Reading section ） （一）綜述 本章節(jié)講述了一個(gè)故事：劇院魅影。由于此劇在上海曾經(jīng)演出過(guò)，因此學(xué)生們對(duì)這個(gè)主題應(yīng)該是比較熟悉甚至熱愛(ài)的。因此，教師應(yīng)充分利用學(xué)生的興趣，將此名劇同課文相結(jié)合，來(lái)進(jìn)行教授。 本課的任務(wù)有兩個(gè)： 1 學(xué)生通過(guò)對(duì)課文的學(xué)習(xí)。掌握一些核心詞匯，例如：capture, kidnap, mask, magically等。 2 通過(guò)學(xué)習(xí)課文，了解故事的寫(xiě)作方法，為writing部分做準(zhǔn)備。 （二）閱讀目標(biāo) 1 知識(shí)目標(biāo) 學(xué)習(xí)課文中重點(diǎn)詞、詞組、句型和語(yǔ)法。 2 能力目標(biāo) 通過(guò)閱讀進(jìn)一步了解歌劇的歷史以及其他方面的知識(shí)。 3 情感目標(biāo) 對(duì)文中的phantom的內(nèi)心世界進(jìn)行分析，判斷文學(xué)作品中人物的善惡和性格的復(fù)雜矛盾性。 （三）教學(xué)方法 采用任務(wù)型教學(xué)法組織教學(xué)，通過(guò)聽(tīng)說(shuō)，討論等具體活動(dòng)，達(dá)到教學(xué)效果。 （四）重點(diǎn)和難點(diǎn) 1 詞匯學(xué)習(xí) 1) 核心詞匯 below obey phantom role kidnap audience release burst magically injure 2) 拓展詞匯 opera angel exist capture 3) 詞組和短語(yǔ) a huge building, with seventeen floors force him to leave home make a secret home for sb gain power over must be be crowded with in the end be filling with water be shocked at make sb do 4) 句型學(xué)習(xí) 1. In the middle of this lake was an island, and on that island, one hundred years ago, lived the Phantom 2. …,he was so ugly that his own mother made him wear a mask,… 教學(xué)設(shè)計(jì)（Teaching Designs） 教學(xué)內(nèi)容 教學(xué)實(shí)施建議 教學(xué)資源參考 Pre-reading 要學(xué)好本課,建議老師在這個(gè)階段完成以下兩個(gè)任務(wù): l 通過(guò)圖片和歌劇中的音樂(lè)將學(xué)生帶入<劇院幽靈>所帶來(lái)的特定的場(chǎng)景. l 鼓勵(lì)學(xué)生說(shuō)出自己看海報(bào)和聽(tīng)音樂(lè)之后的感受,初步體會(huì)這部風(fēng)靡世界多年的名作所來(lái)的震撼.為進(jìn)入課文學(xué)習(xí)作好鋪墊. ［具體處理這部分內(nèi)容的建議見(jiàn)[鏈接1,2] 中學(xué)英語(yǔ)合作網(wǎng) 《牛津英語(yǔ)教學(xué)參考》Page 1 While-reading 這是本課的重點(diǎn)部分.要求老師與學(xué)生一起走進(jìn)這部名劇.同時(shí)初步了解歌劇院的整體布局 (見(jiàn)練習(xí)A). 可以由PHANTOM 和OPERA談起.將課文中出現(xiàn)的詞匯貫穿其中,使學(xué)生在比較自然的情景中習(xí)得課文中的詞匯. l 通過(guò)picture (課本P2)和Skimming （同上）了解歌劇院的布局以及故事的大概梗概。 l Scanning 部分通過(guò)True or False練習(xí)，使學(xué)生熟悉故事情節(jié)，還通過(guò)（P5）中的Read and think 使學(xué)生加深對(duì)于故事主人公Phantom， Christine and Raoul之間復(fù)雜而又凄美的愛(ài)情的了解。從而對(duì)于劇中人物的遭遇寄予更多的同情和理解。這部分教師除了利用課本中所提供的素材和練習(xí)之外，師生間用問(wèn)答方式則更好。建議文中的填詞部分放到課文整體閱讀和理解之后進(jìn)行，這不僅提高教學(xué)效果，更重要的是符合學(xué)生思維發(fā)展的循序漸進(jìn)規(guī)律，讓課堂的發(fā)展更有層次和合理。 l 接下來(lái)的環(huán)節(jié)是Further understanding of the text。 學(xué)生在這一環(huán)節(jié)里，可以用適當(dāng)?shù)男稳菰~來(lái)描述文中的主要角色。這個(gè)設(shè)計(jì)安排既可以回顧課文的主要內(nèi)容，還可以看出學(xué)生的理解是否準(zhǔn)確，很多精彩的智慧火花會(huì)在這一刻出現(xiàn)；這樣安排的另一目的是為下一課時(shí)language部分作準(zhǔn)備。 l Consolidation and conclusion 指導(dǎo)學(xué)生完成課文后的Scanning部分的其他練習(xí)。 Post-reading 安排學(xué)生討論：What other operas have you ever heard of? Which one is your favorite? Which character impressed you most? Why:?同時(shí)推薦學(xué)生閱讀補(bǔ)充材料：見(jiàn)鏈接4 [鏈接1] 說(shuō)明： 對(duì)課文背景知識(shí)的介紹。 the Phantom of the opera 故事一開(kāi)始是一場(chǎng)拍賣(mài)會(huì)，其中一只八音盒使老年的拉包爾回到了過(guò)去：當(dāng)時(shí)青年拉包爾是歌劇院的出資人，新女歌劇演員克里斯汀與他相愛(ài)，一個(gè)神秘的聲音將克里斯汀帶到劇院下面地下湖的幽靈的巢穴，幽靈愛(ài)上了她，他開(kāi)始教她聲樂(lè)，并為了讓劇院使用克里斯汀上演主角，他甚至用恐怖的手段來(lái)達(dá)到目的。 但當(dāng)它發(fā)現(xiàn)拉包爾和克里斯汀的相愛(ài)時(shí)，它試圖阻止這一切，當(dāng)他失敗時(shí)，他在最后的演出后，劫持了克里斯汀，但拉烏爾緊緊追趕到地下湖，但幽靈擒獲了拉包爾，用他的生命來(lái)要挾克里斯汀，克里斯汀勇敢面對(duì)了幽靈提出的可怕選擇。幽靈終于絕望了，他放他倆離去，自己卻柔聲地對(duì)著八音盒唱起了歌，八音盒開(kāi)始神奇地轉(zhuǎn)動(dòng)起來(lái)......，最后當(dāng)人們追來(lái)時(shí)，他已經(jīng)消失，只在座位上留下下一個(gè)白色的面具。 [鏈接2] 說(shuō)明： The Phantom of the Opera 歌詞欣賞 A Beneath the opera house I know it’s there he’s with me on the stage He’s everywhere and when my song begins I always find a phantom of the opera is there inside my mind Sing once again with me our strange duet My power over you shows stronger yet You give your love to me for love is blind The phantom of the opera is now your mastermind Those who have seen your face Draw back in fear I am the mask you wear It’s me they hear Your spirit touch my voice in one bined The phantom of the opera is there inside my mind （見(jiàn)The Phantom Of The Opera.mp3） [鏈接3] 說(shuō)明： 本部分建議采用任務(wù)型閱讀教學(xué)方法。通過(guò)略讀、掃讀、細(xì)讀等不同手段來(lái)提高學(xué)生的閱讀理解能力，從而培養(yǎng)學(xué)生的閱讀技巧。 Teaching procedures Step One l Students report: Introduction to a famous musician l Presenting the students some posters while enjoying the music and song from the opera l Ask the students to share with each other their feelings. Step Two l Skimming Skim the text and do EX A. B， at the same time learn about the new words in this section. Questions for the students to consider and answer 1. What do you know about…? 2. When did this happen? 3. Do you think the story is true or not? 4. What do you think the Phantom is, a man or an animal? Why do you say so? 5. Use one word to describe the Phantom. l Scanning 1. True or False exercise on P. 2 教師在進(jìn)行這一部分練習(xí)時(shí)，不光只是帶領(lǐng)學(xué)生練習(xí)，更重要的是要通過(guò)設(shè)問(wèn)引領(lǐng)學(xué)生進(jìn)入課文。如： 1． From the text, we know the Phantom was not born on an island, but lived there. But where is the island? 2． The Phantom’s mother was cruel to him. Why? As we all know, mother is the person that is the one who loves their kids the most. How e the Phantom’s mother was cruel to him. Do you think that she should be blamed or do you think she was not a good mother? 3． As we know the Phantom was a very cruel and cold-blooded person, what’s important, he was loving Christine and wanted her for himself. Raoul saved Christine from the Phantom, what does that show us? 4． As we know, the Phantom didn’t kill Christine and Raoul, what happened then? How did that happen? Where did the Phantom go in the end? 通過(guò)這樣的討論，我們可以讓學(xué)生在考慮問(wèn)題和閱讀課文的時(shí)候，將對(duì)于課文的理解立體起來(lái)，不但看到了表面的一些東西，更有助于走入故事各主人公的內(nèi)心世界，設(shè)身處地地站在主人公的位置考慮問(wèn)題，從而加深對(duì)于課文的理解。 2. Read and think 這部分的練習(xí)主要是對(duì)于課文細(xì)節(jié)的把握，教師依然可以采取師生互動(dòng)的方式進(jìn)行。 1. What was the Phantom’s mother’s reaction when she saw her ugly son? How ugly was he? 2. Why did the Phantom stay out of her sight? 3. How could the Phantom make himself so strong? Why did he make himself strong? 4. Which sentences show that the Phantom was really a lonely man? 3. Further understanding of the text 這一部分是教師引領(lǐng)學(xué)生在進(jìn)行了以上對(duì)于課文的整體理解以及細(xì)節(jié)討論的基礎(chǔ)上，通過(guò)思考和小組討論，用他們所知道的形容詞來(lái)描述故事中的主人公。 The Phantom: ugly, strong, wonderful (voice), cruel, lonely… Christine: beautiful, lovely, clever, kind-hearted… Raoul: handsome, devoted, brave, responsible… Managers: … 4. Finish doing the rest of the exercise in the Reading part. 5. Questions for further thinking: What other operas have you ever heard of? Which one is your favorite? Which character impressed you most? Why? 6. Assignment: Read the supplementary exercise to know more about operas. 見(jiàn)鏈接4。 [鏈接4] 說(shuō)明： 關(guān)于opera的補(bǔ)充閱讀材料，拓展學(xué)生的閱讀能力，并加深對(duì)課文主題的理解。 The Life of Ludwig van Beethoven Mozart’s success with opera incited a host of imitators; but of that period only Beethoven’s "Fidelio," still occasionally heard, has survived. The details of Beethoven’s life, like those of Mozart’s, are familiar. The poser came of a musical family; for his grandfather was kapellmeister, and his father, a tenor singer, filled a small musical post at Cologne. He was born at Bonn in December 1770. His father had bee a confirmed toper, and the boy suffered in consequence. The father had heard of the prodigy Mozart, and the money he had brought his parents; and he conceived the notion of exploiting his own son in the same way. Thus he kept him slaving at the piano, and thrashed him when he did not practise long enough. There are stories of the son ing home late and dragging the little fellow out of bed to go to the keyboard. This degraded specimen ended his life by his own hand, but not before his conduct had cast a gloom over his son’s youth which greatly affected his after years. Beethoven seems to have had no regular course of instruction in Bonn, but when he was seventeen he went to Vienna and had some lessons from Mozart. Later on, he had lessons from Haydn; but the two did not get on well together, their natures being totally different. Beethoven finally left Bonn when he was twenty-two, and settled in Vienna, where he gradually made a name for himself. He began to appear in public as a player, and in 1796 played before the King in Berlin; but he soon gave up playing for posing. His first works were roundly abused by the critics -- even some that we now regard as among his greatest creations. Weber said of the Seventh Symphony that its poser was "quite ripe for the madhouse." Then, when deafness came upon him -- the tragedy of his life -- the sapient fellows found that the "horrors of sound" in his works were due to the fact that he could not hear them himself. When "Fidelio" was first performed, it was said that never before had anything so incoherent, coarse, wild, and ear-splitting been heard! Of course, the deafness had nothing to do with it. Beethoven, like all really great posers, was simply before his time. But the deafness had a great deal to do with Beethoven himself. It turned him into a wretched misanthrope, and well-nigh caused him to end his life. Indirectly it prevented him from marrying. He got a special kind of piano constructed, with extra strings and a resonator, and on this he would thrash out in a wild way the themes that were always coursing through his brain. In the theatre he had to lay his ears close to the orchestra in order to understand the actors, and the higher notes of the instruments and voices he could not hear at all when only a little distance away. "Fidelio" was begun in 1804 and the affliction, first evidenced in 1798, had bee acute four years before that. We need not dwell on it. In all musical biography there is nothing so terrible to read about as Beethoven’s deafness. "If I were of any other profession!" he used to wail. From the time of his deafness onwards, he was constantly adding to the world’s stores of the best in music. But he was unhappy and worried all the while. Wagner said of him that he faced the world in an almost defiant temperament, and kept an almost savage independence. He was in perpetual trouble about lodgings and servants. "The cook’s off again," was a frequent piece of domestic information to his friends. Once he determined to be cook himself, and sent out invitations to share in one of his efforts. Those who came -- well, like Poe’s raven, their verdict was "nevermore." He was absent-minded to a degree; he had a volcanic temper, which more than once led to his flinging the inkstand among the piano-wires. Once he threw a dish of stewed beef and gravy in a waiter’s face because the dish was not what he had ordered, and one of his cooks was punished for the staleness of the eggs by having the whole batch, one by one, discharged at her head. His humour was of the sardonic kind, as when he sent a tuft of hair from a goat’s beard to a lady admirer, who had asked for a strand from his own leonine locks. When lying on his death-bed he had to be tapped. "Better water from the body than from the pen," he observed to the doctor. When he realised that his end was near, he said to those around him: "Clap hands, friends; the play is over." And so, on the 26th of March, 1827, this great master of tone went out to the darkness of the Silent Land. Sydney Opera House An extraordinary site on Sydney Harbour at Bennelong Point, an ambitious state Premier (Joseph J Cahill), a visiting American architect (Eero Saarinen) and a young Dane’s billowy sketches (Joern Utzon) were the key factors which generated one of the world’s most important modern buildings. Designed at the vast scale of the harbour itself, its low edges contain enough visual appeal for human interest. More remarkable is that the scheme makes no reference to history or to classical architectural forms. The roof is more important than the walls, consequently the language of walls - columns, divisions, windows and pediments - has been effectively dispensed with. As a public building, it conceals its usage in its lack of historical associations, and restores the concept of the ‘monument’ as being acceptable in social terms. The Sydney Opera House also embodies timeless popular metaphors. The building’s organic shape and lack of surface decoration have made it both timeless and ageless. Moreover, it demonstrates how buildings can add to environmental experience rather than detract from it - something of spiritual value independent of function. History of Soap Opera History Of Soap Operas Soap opera was a phrase that people used in the 1930s in USA. It was to describe radio series. The opera came from the fact that they were about dilemmas and real life situations that people have on a daily basis. As the radio series popularity grew, they became televised in the 1950s. Soon it was spread around the world and it grew and grew. Coronation Street is the longest running TV soap in the world, but it is predated by a radio soap, The Archers, a rural soap opera that was broadcasted on BBC Radio 4. After the successes of Dallas (among others) in America, soap started to suddenly became more popular in the 80s. This caused the beginning of new British soaps such as Brookside and Eastenders. Also, the success of Australian soaps like Neighbours and Home and Away caused British soaps to reconsider their target audience and therefore, their characters. These Australian soaps tended to be aimed at teenage viewers