第一篇：浅析莎士比亚的《威尼斯商人》以女性角色为例
Title 浅析莎士比亚《威尼斯商人》-以女性角色为例 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the events of the play within the Elizabethan era and citing the anti-Semitism rampant in the period by using historical documents.In other instances, scholars have focused on perceived homoerotic behavior between the male characters Bassanio and Antonio, again relegating the role of the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：以角色为话题的作文
以角色为话题的作文
以角色为话题的作文
（一）每一个人都有一个属于自己的小小世界，在这个世界里他又同时出演着各种不同的角色。而这角色的好与坏影响着这个世界太平和**。
我们不仅是老师眼中的学生，家长眼中的孩子，还是老板眼中的职员，情人眼中的对象„„
一个人从蹒跚学步到成为一个顶天立地的男儿再到满头白发趋偻而行，在经过花开，蝉鸣，叶落，雪飘的四个季节时总伴随着人们的喜怒哀乐，在这个过程中你的一举一动，一瞥一笑乃至面部表情，都会牵动着每一个人的喜与悲。
好的角色就是，在生活中，你是一个乖巧，可爱，讨人喜爱的好孩子；在学习中你是一个勤学，好问，奋发向上的好学生；在工作中你是一个，努力，认真，兢兢业业的好职员。自然你周围的人都会喜欢你的，你也会是一个很幸福的人的。会得到老师的好评，家人的关爱，老板的亲睐，以及朋友的信任„„生活在这样的环境中，你当然会觉得每天都是晴空万里了。坏的角色不用说大家也知道了，生活中，调皮捣蛋，另人生厌；学习中，上课睡觉，不求上进；工作中，又什么都不干，不求上进。自然就会觉得每天都是乌云密布了。
其实谁不想做一个好人呢，不说留芳百世，至少也应该让我们周围的人都喜欢我们吧／扮演好自己的角色并不是一件易事，既要做一个好学生又要做一个好孩子还要做一个好员工。
在这短暂的人生中，我们应该有所作为，当我们在回忆时也不会因虚度而悔恨。至少也应该作到让同龄嫉妒我们有才华，让别的家长羡慕我们的家长有那样乖巧的孩子，让老板可以在别人面前炫耀有我们这样好的职员。
努力扮演好自己的角色，让我们的名子在我们的小世界里永驻。
以角色为话题的作文
（二）人生是一个绚丽的大舞台，每个人都在这个大舞台上扮演着不同的角色。一个个>故事在这大舞台上上演，或喜、或忧。
缓缓地走在石子小路上，柳枝垂下来，刚刚在我的头上。雨后的天空格外明亮，我看见前面有一个阿姨，戴着草帽，弯着腰，拿着扫帚缓缓地移动。可动作倒也干净、利落。广阔的天空将她显得更加渺小，周围没有什么人，她依旧用心地扫走每一个垃圾。那神情多么专注，多么仔细。是啊，这是她的角色，她努力地扮演好了自己的角色。
走出公园，天空又下起了毛毛细雨，我加快了步伐。突然间我看见一个警察在雨中，哦，原来是交警啊！他站得笔直，一直变换着手势，表情十分严肃、认真。调皮的雨飞过去，沾在了他的脸上，越来越多的雨，汇集在他的脸上，形成了一条条沟壑。雨顺着他的脸颊滑落，一滴，一滴„„他依旧面不改色地站着，指挥着车辆的运行。我的心中泛起一股暖流，呵，他是交警，在人生的舞台上，他扮演好了自己的角色。
雨更大了，大颗大颗的雨让我不得不奔跑。跑回家中，将湿透了的头发擦干后，便坐在电脑前玩电脑。电话响起，我拿起电话，是妈妈的声音。妈妈说雨太大了，让我去接她，我回答说好。便关了电脑，拿了雨伞，匆忙地下楼去了。下楼找到妈妈，我帮妈妈提起东西，撑起伞，便走回了家。她是我的妈妈，我是她的女儿，帮她做事是我的义务，是我的责任。我应该做好子女的角色。
雨渐渐地小了，太阳放出光芒来，温暖的阳光普照着大地，我心里也暖暖的。在人生的舞台上，不同的人有着不同的角色，我们所能做的只有扮演好自己的角色，才能演绎出自己精彩的人生。
以角色为话题的作文
（三）没有人会知道在下一秒将迎来什么，所以，请在每一秒扮演好自己的角色。
——题记
下一秒，会是怎样？也许是悲欢离合，也许是觅及挚友，也许是梦想的破碎，也许是希望的重拾，也许是欢笑，也许是眼泪，当然，也有可能虚度而过。
在失败的那一秒，你需要扮演的是一位慈祥的母亲，你所需要的工具是柔和的目光，语重心长的教导，以及一碗心灵鸡汤。你要学会一个人去扮演两个角色，一个是失落的孩子，一个是母亲。用柔和的目光溶解孩子心中的冰块，让这个孩子寻找到阳光，擦干眼角泛起的泪花，在母亲的等待 中选择微笑。接着，母亲要告诉孩子，眼泪代表脆弱，不可以如此轻易地留下眼泪，不经过风雨怎能看到绚丽的彩虹，雏鹰不经历磨练怎能有搏击长空的勇气，要学会自己去找到突破口，让困难迎刃而解，最后，这个母亲可以离开，默默看着孩子一步一个脚印，走向最美丽的海滩。在饰演角色的过程中，你懂得了开导他人，也学会了面对坎坷。
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书一个饱经风霜的眼神，以及一块石头。这时，你依然要变成两个角色，一个是欢呼雀跃的成功的人，一个是老人。告诉成功之人：“谦虚使人进步，骄傲使人落后。”让他在虚荣心面前果断的转身，选择继续踏踏实实地向更高的一层而奋发努力，让他知道，必须拥有十年磨一剑的毅力，才可再创奇迹。接着，给予他一个饱经风霜的眼神，让他看到光辉岁月背后失落的迷惘，还有每一滴辛酸的泪，用这来浇灭他心中傲然的盛火，回首凝望自己的风雨，在岁月的长河中镌刻下一道痕。最后，老者将注视着这个一时成功之人一生的成功。这一秒，你有了更稳的人生铺路石。
而假使，下一秒你虚度了，并没有去扮演应该扮演的角色，那么，下一秒的下一秒，你是否依旧沉浸在呆滞的目光，空洞的眼神，麻木的神情里？没有各种角色的人生，将黯淡，甚至浑浊。所以，请在每一秒扮演好自己的角色。即使没有去扮演，那也必将微笑着，而不是愁眉苦脸，微笑，让你成为了一个乐观的角色，不是吗？
人生的角色，就是这些细微的小角色汇成的，每一秒，你都在扮演什么呢？
第三篇：以春晓为例
以《春晓》为例，谈信息化环境下小学一年级语文的教学设计
〖打印内容〗发布时间：2015-12-13 16:42:13 来源：语文网 浏览：18463 作者：匿名
有
奖投稿
【摘要】
信息化环境下，多媒体教学成为学校教育不可或缺的部分。小学一年级语文的教学设计从素质教育的背景出发，以课程标准为依据，准确表达和演绎教学内容，注重学生的年龄、智力、个性特点，力求易用、生动，体现科学性、辅助性、实践性的原则，切实这学科教学服务，为课堂教学改革服务，为学生服务。通过教学设计的展示和演绎，提高语文课堂教学质量和效率，促使学生领会知识、学会学习，主动发展。
【关键词】
语文 教学设计 依据 原则 技术的应用
当今，信息技术的高速发展，为课堂教学运用多媒体教学手段提供了充足的技术条件和广阔的发展前景。多媒体教学已经成为学校教育中不可或缺的部分。在信息化环境下，依据不同的教育背景和对象，如何促使人(师生)机、技术与课程、媒体技术与教学内容的最佳组合成为广大教师不断思考、探索和实践的问题。本文以 《春晓》一课为例，试谈信息化环境下小学一年级语文的教学设计。
一、设计遵循的依据
多媒体教学形式在传递信息方面适用范围很广，但目前更多的是表现在学校的课堂教学。这就表明学校中的多媒体教学必须在素质教育的背景下，依据学科的要求和特点及教学对象来展开。就一年级语文而说，它的教学设计必须有下列依据。
1、素质教育的要求：
《中共中央国务院关于深化教育改革全面推进素质的决定》指出：全面推进素质教育，要坚持向全体学生，为学生的全面发展创造相应的条件，依法保障适龄儿童和青少年学习的基本权利，尊重学生身心发展特点和教育规律，使学生，生动活泼、积极主动地得到发展。
因此，在信息化环境下，语文的教学必须体现：⑴ 全面性;⑵ 学生个性特点;⑶ 教育规律;⑷ 主体性、主动性和发展性。素质教育以全面提高人的素质为核心，所以素质教育首先是人的教育，一切都是为人服务，语文的教学设计也是为人而设计。同时学生是学习和发展的主体，为人而设计的教学手段和内容，必须围绕学生来进行，适应学生身心发展和语文学习的特点，不仅为学生的智力提高，也为学生全面素质的发展。
2、课程标准和教学内容： 语文课程标准与总体目标和阶段性目标。语文教学设计在总体目标的框架下，着重体现阶段性目标。就一年级而言，语文教学要逐步培养学生爱国情感和良好的学习习惯，掌握基本技能，包括识字与写字、阅读、写话、口语交际、综合性学习等技能，发展学生的语言和思维。语文教学的多媒体设计必须反映这些目标，而不能跳出这一圈子，哗弄取宠。
我设计《春晓》一课就紧围绕该课的教学目标来进行。包括：情感目标(热爱自然春天，环境时光和生活，感赏诗美)。能力目标(学会生字、拼写、朗读、背诵、初步审美)等。在教学目标的展示和演绎中，我配予明丽的色彩、生动的画面及动听的音乐来进行，效果极好。
学生年龄、智力特点和个性。一年级学生年龄小，生理、智力的发展远未成熟，经过幼儿园的教育，有一定接授知识的经验，但是低层次的，仅仅是初步具备认识世界的能力。所以，语文的教学设计，一方面必须充分考虑到他们的年龄、智力特点，从他们的主场出发，进行教学设计。另一方面，要考虑到学生的个性，他们虽小，但他们是好动的，活泼的，具有极强的求知欲，急于了解周边的事物。设计的内容力求做到反映儿童的求知需求，分量程度适当，便于教和学。在《春晓》一课中，从目标至过程，从画面色彩的选择到音乐声音的搭配，都体现出反映儿童的求知特点，突出主体，顺序渐进。
3、技术条件：
目前，现代教育技术，更广泛地应用于课堂。信息技术的成熟，科技日新月异的进步，为教学软件的制作提供了充足的条件和依据。各学校为迎合信息化的要求，提高教学质量和效率，普遍建立教学平台和校园网。这为多媒体教学提供了客观条件。市场上可供购买的教育软件很多，有资源类、教学课件类、试题类、管理类、平台软件类以及刚刚兴起的基于网络环境下的信息技术与学科课程整合类教育软件等。掌握了技术，制作课件是不难的。我在制作《春晓》教学辅助课件，就使用了工具软件Flash、PhotoShop。这些工具在动画制作、图片处理方面效果好，且占用内存空间小的特点，还可以将文本、图形、动画、声音、视频等多种媒体信息集成在一起，形成具有学科特色与知识结构体系的教学系统。为教师备课、讲课提高丰富的教学资源。
二、设计遵循的原则
一年级的语文教学，是以党的教育方针素质教育思想为指导，注重培养学说读写能力，打好语文基础，重视对学生思想品德教育和学科思想方法的启蒙教育，培养创造能力和实践能力，为学生的终身学习、生活和工作奠定基础。在信息环境下，语文的教学设计必须围绕这一教学目标而进行。在设计中要体现科学性、辅助性、实践性和可变性的原则，真正发挥现代教育技术的应用作用，真心为课堂教学服务，为学生服务。
1、科学性：
首先以先进的教育理论为指导，以学生为教学活动的主要对象，以现行教学大纲和教材为主要依据，脚本的编写包括识字(生字)、写字(笔顺)、朗读(情感发挥)、口语(注音)、练习(作业)等准确表达教学内容。其次教学程序设计要合理，最能体现教师的教学经验和教学特点，它是教师教学思想的具体表现。
如《春晓》一课，程序设计为：〖封面导言〗以小学语文课本封面图案为基础;〖知识内容〗教学目标、重点、难点、生字、课文、等;〖交互方式〗让使用者在一组多个可能的对象中进行选择，各种可能的选择项以菜单形式显示在屏幕上;〖跳转关系〗根据教学重点、难点、知识要点确定超文本的节点，丰富节点的内容，以教学内容之间的逻辑关系确定节点间的联结关系，从而改变了一般教学软件死板的线性或树状结构，成为跳转灵活的网状结构使本课件在教学中产生了革命性的作用，对培养学生的联想思维能力、实施因材施教等具有重要的意义;〖导航关系〗通过导航条引导学生围绕教学目标，提高教学效率、进行更有效的学习;〖评价与练习〗提出问题对学生进行评价，以了解学生对知识内容的掌握程度，并在教学过程中达到强化、矫正和定位的作用。
2、辅助性： 就目前社会发展的要求来说，无论现代教育技术多么先进，都不能取代教师在课堂中的作用。虽说课堂教学可以进行人机对话，但任何机器同人是不能比拟的，因为人是有情感的，有血有肉的，所以教师才是课堂教学的灵魂。现代教育技术手段应用于教学，仅是辅助性的。如果教师不注重课程与技术的整合，不注重学生的主体性，仅靠令人眼花暸乱的多媒体技术的展示来开展教学，那将是失败的教学。虽然动人的画面一时可以吸引儿童，但它没有实际的内容，靠纯技术性的运作是短暂的，时间一长将被儿童厌弃。当然，辅助并不是简单的辅助，它必须尽可能体现出人机、技术与课程、媒体技术与教学内容的最佳组合，切实体现现代教育技术应用于教学的优势和作用。
3、实践性：
首先是实效性。在信息化环境下，语文教学设计要做到目标明确、程序合理、易于操作、画面简洁生动、色彩明丽、适合儿童的认知特点和学习的个性。在实践中有效果，有利于提高课堂教学质量和效率，有利于促进儿童的发展。其次，适合交流与合作。教学设计要体现因材施教的原则，赋予课件以生命，便于人机交流与合作。通过教师的指导作用，使每位儿童在课件的生动演绎中享受到人机对话的乐趣，在快乐中学会认知，学会学习。
4、可变性： 语文教学设计应是一个动态的过程，它除了追求教学效果，易于操作外，还应该可以进行修改和补充。因为当今知识递增迅速，被教育者又不是一成不变的，所以教学设计在实际应用中应得到不断的整合，体现其最高的价值。
在信息环境下，语文的教学设计还应探讨，现代教育技术该如何运用，媒体该如何选择等问题。本文不再一一探讨。概括来说，在实施素质教育的背景和信息化环境下，语文教学设计要以课程标准为依据，围绕教学内容进行、围绕学生年龄进行、围绕易用生动进行，以科学性为指导，以实践性为核心，以生动性来激发学生的学习兴趣，诱发学生思维和学习的主动性，把德、智、美、情、境、意、声、形、色融于一炉，课堂教学的演绎中，使学生领会知识，学会学习，主动发展。
──────── 【参考文献】
1、《中共中央国务院关于深化教育改革全面推进素质教育决定》·北京·人民教育·1999、7
2、《全日制义务教育·语文课程标准》·教育部·北京师范大学出版社·2001
3、《义务教育课程标准实验教科书 语文 一年级下册》·人民教育版社·2001、12
4、《义务教育课程标准实验教科书 语文 一年级下册教师教学用书》·人民教育出版社·2001、12
5、《现代教育技术应用基础》·合肥·安徽教育出版社·2000 【《春晓》一课设计的六个步骤】
《春晓》是一篇古诗文。古诗，有别于其文体，它语言凝炼含蓄、想象丰富，并且具有强烈的节奏感和优雅的韵律美。须有一定的文学素养，求其形体且难，解其神韵则更不易，而将其授之儿童，以一堂课的时限，达到其形，明其意，会其神之目标，岂不难于上青天?而我借助于多媒体教学，展示情境，点化含义，学生如身临其境，教者借学生情，情境交融，神情随感觉而动，于是神韵由情感而生，本篇课文的重点、难点随多媒体教学的意趣而解。一幅百花争艳、百鸟争鸣的春景，流入学生惜春、爱美、赏心悦目愉快的心田。为突破这一重点和完成常规教学目标，我按以下六个步骤进行：
第一步：动画激趣
分别演示四幅动画，伴以优美的音乐，使学生耳目一新，兴趣谐厚，注意力集中，在享受中初步感知整首诗蕴含的诗情画意。
第二步：润画引诗 在感知动画的基础上，再由每一幅画面分别引出四句诗，最后展示全文，由局部到整体，由具体到抽象，这样设计合乎低年级学生以具体形象思维，为主要形式的思维特点和由浅入深，循序渐进的教学规律。
第三步：朗读体会
引导学生通朗读，进一步感受整首诗，为下面学习生字，理解诗意打基础。
第四步：掌握生字
识字是阅读、写作的基础，是小学语文特别是低年级语文教学中一项极其重要的任务。识字，要能读准字音，辨清字形，按其笔划顺序书写，更重要的是能理解其意灵活运用，我利用多媒体教学的快捷性，生动性优势，设计了注音、读音、笔顺、组词等多媒体方式，从而轻易地实现了准确掌握、活用字词。
第五步：读背诗文
根据诗歌的音韵特点，诗歌教学中，朗读是不可或缺的重要一环。通过不同形式的诵读，不仅能从中感受到诗歌的节奏美和音韵美，品尝中国古代诗歌别有的风味，而且能实现更深层次的理解，历史中的现实、现实中的意境、意境中的神韵：──“作者胸有境，心境始与亲”。朗读时，我除注意指导节奏和音韵外，还要求学生在脑海浮现《春晓》的多媒体的动画意境。第六步：想象复述
古诗语言精炼含蓄，教学中只有引导学生展开联想和想象，才能领会诗的内涵，体验诗的情味。因此，复述时我注意指导学生放飞想象的翅膀，超越时空限制，描绘《春晓》多媒体动画中的情境。同时，指导学生感悟诗中蕴含的历史背景、作者的情感。使学生与作者的感情达到共鸣。结合提问：看到如此美丽的春色，作者有何感受呢?鲜花被风雨吹打在地作者又会怎样?我们平时应如何对待我们周围的花草树木呢?还可以进一步加强环保的思想教育。回查字典首页>>
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第四篇：以角色为话题的作文600字
以角色为话题的作文600字
一岁时，你们是我的天使。当我呱呱来到人世间，就已经注定将伴随你们一生一世。你们天天呵护我，喂奶、换尿布、帮我洗澡、抱我散步，这都是为了让我能健康成长，让我不哭不闹。我相信，你们一定是上帝派给我的天使。两三岁，你们是我的启蒙老师。你们耐心地教我唱歌、跳舞、画画、念唐诗„„我开始好奇周围的世界，每天都有数不清的问号。这，开启了我一生中的知识大门，是块永久发光的宝石。四五岁，你们是我的收音机。夜晚，临睡前的幸福时刻，就是听你们娓娓道来动人的故事。我总是拼命睁着双眼，生怕自己睡着，别错过了精彩的片段。白天，一本本五花八门的识字图片书，是我的餐前小吃。一堆堆五颜六色的积木，是我的开胃大餐。六七岁，你们是打开我心灵的钥匙。我突然觉得自己的脑袋原来那么好使，那么有用。世界原来那么大，有那么多的学问。当鲜艳的红领巾飘扬在胸前，我迈出了人生的第一步。八九岁，你们变成了我的老虎。我开始烦恼，开始觉得你们好不讲理，总爱约束我。这个班，那个班，我被无形的线牵绊着左右。功课排在了第一，快乐的玩耍越来越少。我知道这些都是为了我好，但是，我害怕你们严厉的目光，多么希望你们的教导能够温柔一些。十岁十一岁，你们又成了我的上帝。为了我，你们常常争得面红耳赤。最后，还是会觉得我不够争气，我的心里好不是滋味。为了心爱的游戏，为了糟糕的分数，有时候，我竟然默默地说：“我狠你们”。因为，我有我自己的思想、独立的灵魂。在我的小小世界里，我尝试着长大，却依然希望能永远活在那美妙的童话世界里。后来，我发现，你们是我生命的重点。你们用心良苦，让我学会如何在风雨中坚强，如何在困难面前永不言败。这一生，你们扮演的角色太多了，而这一切都是为了我。我能做的，可能只是仅仅道一声：“谢谢你们，爸爸、妈妈。” 我，拥有着你们无私的爱，永远是你们手心里的宝。我将带着这份感激，带着七彩的梦想，学会慢慢长大。
第五篇：以“脑白金”为例——打造优秀企业文化促发展
以“脑白金”为例——打造优秀企业文化促发展
保健品是为人们生活带来健康的产品。在国民生活水平不断变好的今天，中国保健品行业一片繁荣，每年保健品行业所贡献的税收达几十亿之多。但保健品行业的良莠不齐，伪劣保健品的存在，侵犯着消费者的切身利益，甚至造成服用者的健康受损。保健品企业构建起良好的行业素质、企业文化迫在眉睫。什么样的企业才是好企业，什么样的企业才能创造好产品？十七年来畅销中国的保健品龙头脑白金值得众多行业同仁学习。
脑白金的企业文化打造
一、关爱大众，眼光高远，做有原则的企业有原则的产品 公司使命：以优质的产品和服务，关怀大众健康 企业愿景：创百亿产值，建百年基业
中国保健品行业发展时间并不算短，产品不算少，但能够在行业里立住脚的产品并不多，脑白金为什么会成功？原因很简单，脑白金不是单纯的做营销工程，不是为了品牌知名度而去做品牌，不是为了追求短期利润而去做产品，而是把关爱千千万万的普通老百姓的身体健康作为公司的使命，把打造百年民族品牌作为公司的目标，脑白金从一开始就为整个保健品市场树立了一个行业的标杆。民众的眼睛是雪亮的，只有真正有原则，真正为老百姓着想的产品才能够存活下来。脑白金就是这样的例子。
二、以人文本，认真负责，企业文化促进脑白金好发展
脑白金公司20年发展，深刻总结经验教训，形成了“以人为本”、独具脑白金公司特色的企业价值观：
1、只认功劳，不认苦劳
干工作，目标明，分主次，抓效率，追求大业绩，不做无用功。
2、说到做到，做不到不说
为人诚，讲信用，言必行，行必果，不轻诺，不寡信，食了言，失威信。
3、严于律己，宽以待人
对自己，要自控，高标准，严要求，提修养，求上进，做表率，奉献多，发展快； 对同事，要尊重，少计较，多宽容，讲团队，多协助，学人长，补己短，求共进！
4、敢于承担个人责任
不抱怨，不推诿，有勇气，有魄力，克困难，善攻坚，勇承重担，敢负责任，我以负责而自豪。
5、艰苦奋斗，敬业乐业
不铺张，不浪费，公司利益放首位，控成本，创效益，提高企业竞争力； 把个人发展融入企业发展，积极主动，全情投入，事事认真，力求完美；
把现在的工作纳入终生的事业，培养兴趣，营造情趣，享受乐趣，平衡生活与健康，追求事业有成、身心快乐！
脑白金的公司内刊
1、《巨人报》：记录脑白金的企业进程。为企业内部树立主导舆论，从企业总部到全国分支机构，上下沟通，彰显进步，鞭策落后。传播先进经验，沟通企业成员，反映一线呼声，增强企业大团队的凝聚力和战斗力，做到鼓励组织内部正式沟通，塑造企业形象。
2、《健康金生》：服务和维系脑白金全国消费者。提供给消费者的健康知识读物，贴近消费者，满足消费者对健康、生活等方面的知识需要，提供一年四季的健康保健知识，成为脑白金企业售后服务工作中的重要一环。
透视脑白金的企业文化，我们深切地感受到脑白金通过树立正确的企业目标，把员工紧紧地团结在一起，形成了强大的向心力，同时对于脑白金的客户、消费者以及社会大众都有很大引力。在同样的条件下，没有哪个优秀的人才不愿意去脑白金工作，也没有哪个消费者不愿意去购买脑白金这样的好企业的产品。脑白金在这方面为保健品企业起到了一个很好的示范和榜样。
三、脑白金追求卓越，多方位打造行业龙头
最好的健康产品，这是过去我们取得成功的最佳验证；
最好的营销网络，这是现在和未来我们和所有合作伙伴必定取得成功的法宝； 最好的团队平台，这是我们持续长久发展，并最终实现企业目标的重要保障。
最好的营销网络
上海黄金搭档生物科技有限公司（脑白金为其旗下的代表产品之一）在全国省会城市和中心城市设立了36个分公司和145个办事处，由总公司直接管理，在657个小型地级市和富裕县镇设代表处，由分公司或办事处管理。公司直属的服务性机构已经渗透至除港、澳、台、西藏以外的所有地区。公司十多年积累下的各种资源——网络资源、人才资源和营销资源，可以转化成中国最大的消费品专业营销平台，其价值空间是无限的。
最好的团队平台
上海黄金搭档生物科技有限公司在中国市场营销方面积累了丰富的实践经验。作为一个行业的引领者，黄金搭档一直致力于传播孝文化、和文化以及家文化，脑白金持续畅销，已成为消费品行业和各类商学院借鉴和分析的案例。公司在管理上注重精准和细化，注重创新与实践，注重整合与优化，充分调动各级员工的主动性和积极性，打造了一支中国保健品领域最优秀的队伍，而这也是公司立足于中国健康产业最大的财富。
四、脑白金的成长历程 1997年，脑白金上市；
2000年，脑白金销售8.01亿元；
2001年，脑白金位列保健品全国销量第一； 2003年，脑白金销量突破1亿瓶；
2004年，脑白金权威人体试验；
2005年，脑白金央视“诚信广告主奖”； 2008年，脑白金销量突破100亿元； 2010年，脑白金授予 “中国驰名商标”； 2011年，脑白金生产工艺进大学教材； 2014年，脑白金市场份额高达10.13%； 2015年，再创辉煌。
卓越的发展来自卓越的精神，脑白金以其优越的企业文化，培养优秀的负责任的人才，构建精良的脑白金管理机制，完善产品质量监控机制，让品质最优的产品到达消费者的手中。脑白金的企业文化，促成了脑白金企业、员工、产品、消费者之间的良性循环网络。让脑白金在保健品行业十七年屹立不倒。
作为保健品企业发展的经典案例，望行业同仁们取经借鉴，共促保健品行业的繁荣发展、让消费者切实享受保健品带来的健康生活！
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