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How Do You Know It's Good

How Do You Know It's Good?

by Marya Mannes

Do you love art? Can you tell which art pieces are good and which are not? Are there any standards for judging arts? Read the following article and see how Marya Mannes answers such questions.

Suppose there were no critics to tell us how to react to a picture, a play, or a new composition of music. Suppose we wandered innocent as the dawn into an art exhibition of unsigned paintings. By what standards, by what values would we decide whether they were good or bad, talented or untalented, successes or failures? How can we ever know that what we think is right?

For the last fifteen or twenty years the fashion in criticism or appreciation of the arts has been to deny the existence of any valid criteria and to make the words "good" or "bad" irrelevant, immaterial, and inapplicable. There is no such thing, we are told, as a set of standards, first acquired through experience and knowledge and later imposed on the subject under discussion. This has been a popular approach, for it relieves the critic of the responsibility of judgment and the public of the necessity of knowledge. It pleases those resentful of disciplines, it flatters the empty-minded by calling them open-minded, it comforts the confused. Under the banner of democracy and the kind of equality which our forefathers did not mean, it says, in effect, "Who are you to tell us what is good or bad?" This is the same cry used so long and so effectively by the producers of mass media who insist that it is the public, not they, who decides what it wants to hear and see, and that for a critic to say that this program is bad and this program is good is purely a reflection of personal taste. Nobody recently has expressed this philosophy more succinctly than Dr. Frank Stanton, the highly intelligent president of CBS television. At a hearing before the Federal Communications Commission, this phrase escaped him under questioning:" One man's mediocrity is another man's good program."

There is no better way of saying "No values are absolute." There is another important aspect to this philosophy of laissez faire: It is the fear, in all observers of all forms of art, of guessing wrong. This fear is well come by, for who has not heard of the contemporary outcries against artists who later were called great? Every age has its arbiters who do not grow with their times, who cannot tell evolution from revolution or the difference between frivolous faddism, amateurish experimentation, and profound and necessary change. Who wants to be caught flagrante delicto with an error of judgment as serious as this ? It is far safer, and certainly easier, to look at a picture or a play or a poem and to say " This is hard to understand, but it may be good," or simply to welcome it as a new form. The word "new"—in our country especially —has magical connotations. What is new must be good; what is old is probably bad. And if a critic can describe the new in language that nobody can understand, he's safer still. If he has mastered the art of saying nothing with exquisite complexity, nobody can quote him later as saying anything.

But all these, I maintain, are forms of abdication from the responsibility of judgment. In creating, the artist commits himself; in appreciating, you have a commitment of your own. For after all, it is the audience which makes the arts. A climate of appreciation is essential to its flowering, and the higher the expectations of the public, the better the performance of the artist. Conversely, only a public ill-served by its critics could have accepted as art and as literature so

much in these last years that has been neither. If anything goes, everything goes; and at the bottom of the junkpile lie the discarded standards too.

But what are these standards? How do you get them? How do you know they're the right ones? How can you make a clear pattern out of so many intangibles, including that greatest one, the very private I?

Well for one thing, it's fairly obvious that the more you read and see and hear, the more equipped you'll be to practice that art of association which is at the basis of all understanding and judgment. The more you live and the more you look, the more aware you are of a consistent pattern —as universal as the stars, as the tides, as breathing, as night and day —underlying everything. I would call this pattern and this rhythm an order. Not order —an order. Within it exists an incredible diversity of forms. Without it lies chaos — the wild cells of destruction —sickness. It is in the end up to you to distinguish between the diversity that is health and the chaos that is sickness, and you can't do this without a process of association that can link a bar of Mozart with the corner of a Vermeer painting, or a Stravinsky score with a Picasso abstraction; or that can relate an aggressive act with a Franz Kline painting and a fit of coughing with a John Cage composition.

There is no accident in the fact that certain expressions of art live for all time and that others die with the moment, and although you may not always define the reasons, you can ask the questions. What does an artist say that is timeless; how does he say it? How much is fashion, how much is merely reflection? Why is Sir Walter Scott so hard to read now, and Jane Austen not? Why is baroque right for one age and too effulgent for another?

Can a standard of craftsmanship apply to art of all ages, or does each have its own, and different, definitions? You may have been aware, inadvertently, that craftsmanship has become a dirty word these years because, again, it implies standards — something done well or done badly. The result of this convenient avoidance is a plentitude of actors who can't project their voices, singers who can't phrase their songs, poets who can't communicate emotion, and writers who have no vocabulary — not to speak of painters who can't draw. The dogma now is that craftsmanship gets in the way of expression. You can do better if you don't know how you do it, let alone what you're doing.

I think it is time you helped reverse this trend by trying to rediscover craft: the command of the chosen instrument, whether it is a brush, a word, or a voice. When you begin to detect the difference between freedom and sloppiness, between serious experimentation and egotherapy, between skill and slickness, between strength and violence, you are on your way to separating the sheep from the goats, a form of segregation denied us for quite a while. All you need to restore it is a small bundle of standards and a Geiger counter that detects fraud, and we might begin our tour of the arts in an area where both are urgently needed: contemporary painting.

I don't know what's worse: to have to look at acres of bad art to find the little good, or to read what the critics say about it all. In no other field of expression has so much double-talk flourished, so much confusion prevailed, and so much nonsense been circulated: further evidence of the close interdependence between the arts and the critical climate they inhabit. It will be my pleasure to share with you some of this double-talk so typical of our times.

Item one: preface for a catalogue of an abstract painter:

"Time-bound meditation experiencing a life; sincere with plastic piety at the threshold of hallowed arcana; a striving for pure ideation giving shape to inner drive; formalized patterns where neural balances reach a fiction." End of quote. Know what this artist paints like now?

Item two: a review in the Art News:

"...a weird and disparate assortment of material, but the monstrosity which bloomed into his most recent cancer of aggregations is present in some form everywhere..." Then, later. "A gluttony of things and processes terminated by a glorious constipation."

Item three: same magazine, review of an artist who welds automobile fragments into abstract shapes:

Each fragment...is made an extreme of human exasperation, torn at and fought all the way, and has its rightness of form as if by accident. Any technique that requires order or discipline would just be the human ego. No, these must be egoless, uncontrolled, undesigned and different enough to give you a bang—fifty miles an hour around a telephone pole...

"Any technique that requires order of discipline would just be the human ego." What does he mean — "just be?" What are they really talking about? Is this journalism? Is it criticism? Or is it that other convenient abdication from standards of performance and judgment practiced by so may artists and critics that they, like certain writers who deal only in sickness and depravity, "reflect the chaos about them"? Again, whose chaos? Whose depravity?

I had always thought that the prime function of art was to create order out of chaos—again, not the order of neatness or rigidity or convention or artifice, but the order of clarity by which one will and one vision could draw the essential truth out of apparent confusion. I still do. It is not enough to use parts of a car to convey the brutality of the machine. This is as slavishly representative, and just as easy, as arranging dried flowers under glass to convey nature.

Speaking of which, i.e., the use of real materials (burlap, old gloves, bottletops) in lieu of pigment, this is what one critic had to say about an exhibition of Assemblage at the Museum of Modern Art last year:

Spotted throughout the show are indisputable works of art, accounting for a quarter or even a half of the total display. But the remainder are works of non-art, anti-art, and art substitutes that are the aesthetic counterparts of the social deficiencies that land people in the clink on charges of vagrancy. These aesthetic bankrupts ...have no legitimate ideological roof over their heads and not the price of a square intellectual meal, much less a spiritual sandwich, in their pockets.

I quote these words of John Canaday of The New York Times as an example of the kind of criticism which puts responsibility to an intelligent public above popularity with an intellectual coterie. Canaday has the courage to say what he thinks and the capacity to say it clearly: two qualities notably absent from his profession.

Next to art, I would say that appreciation and evaluation in the field of music is the most difficult. For it is rarely possible to judge a new composition at one hearing only. What seems confusing or fragmented at first might well become clear and organic a third time. Or it might not.

The only salvation here for the listener is, again, an instinct born of experience and association which allows him to separate intent from accident, design from experimentation, and pretense from conviction. Much of contemporary music is, like its sister art, merely a reflection of the composer's own fragmentation: an absorption in self and symbols at the expense of communication with others. The artist, in short, says to the public: If you don't understand this, it's because you're dumb. I maintain that you are not. You may have to go part way or even halfway to meet the artist, but if you must go the whole way, it's his fault, not yours. Hold fast to that. And remember it too when you read new poetry, that estranged sister of music.

When you come to theater, in this extremely hasty tour of the arts, you can approach it on two different levels. You can bring to it anticipation and innocence, giving yourself up, as it were, to the life on the stage and reacting to it emotionally, if the play is good, or listlessly, if the play is boring; a part of the audience organism that expresses its favor by silence or laughter and its disfavor by coughing and rustling. Or you can bring to it certain critical faculties that may heighten, rather than diminish, your enjoyment.

You can ask yourselves whether the actors are truly in their parts or merely projecting themselves; whether the scenery helps or hurts the mood; whether the playwright is honest with himself, his characters, and you. Somewhere along the line you can learn to distinguish between the true creative act and the false arbitrary gesture; between fresh observation and stale cliché; between the avant-garde play that is pretentious drive and the avant-garde play that finds new ways to say old truths.

Purpose and craftsmanship — end and means — these are the keys to your judgment in all the arts. What is this painter trying to say when he slashes a broad band of black across a white canvas and lets the edges dribble down? Is it a statement of violence? Is it a self-portrait? If it is one of these, has he made you believe it? Or is this a gesture of the ego or a form of therapy? If it shocks you, what does it shock you into?

And what of this tight little painting of bright flowers in a vase? Is the painter saying anything new about flowers? Is it different from a million other canvases of flowers? Has it any life, any meaning, beyond its statement? Is there any pleasure in its forms or texture? The question is not whether a thing is abstract or representational, whether it is "modern" or conventional. The question, inexorably, is whether it is good. And this is a decision which only you, on the basis of instinct, experience, and association, can make for yourself. It takes independence and courage. It involves, moreover, the risk of wrong decision and the humility, after the passage of time, of recognizing it as such. As we grow and change and learn, our attitudes can change too, and what we once thought obscure or "difficult" can later emerge as coherent and illuminating. Entrenched prejudices, obdurate opinions are as sterile as no opinions at all.

Yet standards there are, timeless as the universe itself. And when you have committed yourself to them, you have acquired a passport to that elusive but immutable realm of truth. Keep it with you in the forests of bewilderment. And never be afraid to speak up.

(2395 words) TOP

你怎么知道艺术品的优劣?

玛丽亚·曼尼丝

你喜欢艺术吗？你能说出哪些艺术品好哪些不好？是否存在评价艺术的标准？读一读下面这篇文章，看看玛丽亚·曼尼丝如何回答这样的问题。

设想没有评论家告诉我们，对一幅画，一个剧本或一段新乐曲怎样反应。设想我们无意间步入一个未署名油画的画展。我们依据什么标准，依据什么价值来评判它们是优是劣，是天才的还是没有天才的，是成功还是失败?我们又怎能知道自己的想法是正确的?

近15或20年来，在艺术批评与欣赏上，流行否认任何合理标准的存在，认为“好”与“坏”是无关紧要、无足轻重、无可适用的字眼。我们被告知，根本不存在先通过知识与经验获得，然后加在讨论的对象上的一套标准。这种方法一直受到欢迎，因为它解除了评论家评判的责任，公众也无须知识。它迎合那些不愿受规则约束的人，把头脑空空者奉承为思路开阔，并使不知所措的人得到安慰。在民主平等之旗的掩护下——当然不是我们祖先所说的那种平等——它实际是在说：“你是谁，要来告诉我们什么是好，什么是坏?”这与大众传媒制作者的一贯伎俩如出一辙。他们坚持认为，由公众而不是由他们决定听什么和看什么，而评论家说这个节目好而这个节目不好，这纯粹是个人趣味的反映。关于这一点，哥伦比亚广播电视公司聪明绝顶的总裁弗兰克·斯丹坦博士表达得极为简明透彻。最近在联邦通讯委员会的一次听证会上，他在接受询问时脱口而出：“一人眼里的平庸之作，却是另一人的佳作。”

最妙不过的说法是：“没有一个标准是绝对的”。造成这种放任观念的另一重要因素是：畏惧感——所有艺术形式的观察者们都有唯恐猜错的担心。这种担心极易遇到，谁没有听说当初饱受世人指摘的艺术家后来被称为大师？每个时期都有一些评判者，他们不和时代一起前进，无法区分进化和革命，风行一时的时尚、业余的实验与深刻的必然的变化之间的区别。谁愿意作出这样严重的判断错误而贻笑大方?安全得多，当然也容易得多的做法是：看着一幅画，一个剧本或一首诗，说道：“它很难懂，但也许很好”；或者干脆把它当作新形式加以欢迎。“新的”这个词——尤其在我们这个国度——具有魔力般的涵义。凡是新的都是好的；而旧的则极可能是不好的。如果评论家能用无人理解的语言描述新事物，那么他就更为安全。倘若他掌握了说话的艺术，用精巧复杂的言辞，却什么也没说，日后就无人能够说他曾经说过什么。

但是我认为，所有这一切实质上都是对评判责任的背弃。艺术家在创作中表现自己，而你则在欣赏中有自己的承诺。毕竟还是观众成就了艺术。欣赏的气氛对于艺术的繁荣不可或缺。公众的期望愈高，艺术家的表现就愈好。相反，只有被评论家误导的社会，才会在这几年把既不是艺术也不是文学的东西当做艺术和文学接受。如果一件东西没有了，一切也就没有了，而在废物堆最底层的是被抛弃的标准。

但这些标准究竟是什么?你怎样得到它们?你如何知道它们是正确的?你又如何能在这许多不可捉摸的东西，包括最不可捉摸的自我本身，理清出一个清晰的模式?

首先，很明显，你愈是多读、多看、多听，你将愈训练有素，实践建立在所有的理解与判断之上的联想艺术。愈是见多识广，愈能深刻意识到一个连贯一致的规律——犹如星辰、潮汐、呼吸、白昼黑夜一般具有普遍性——存在于万事万物中。我把这一规律与这一节奏称为一种秩序。并非仅仅是秩序，而是一条法则。其中是变化万千的各种存在形式，其外则是混乱——疯狂的毁灭因素——和病态。最终应由你来区分健康的多样性与病态的混乱，而不运用联想的过程是无法做到的。没有联想的过程，你就不能将莫扎特乐曲的一节和维米尔油画的一角，斯特拉文斯基的乐谱与毕加索的抽象画，或者一个挑衅性的行为与弗兰茨·克兰的油画，一阵咳嗽声与约翰·凯奇的作品联系起来。

某些艺术表现形式是永恒的，而另一些却转瞬即逝，这并非偶然现象。尽管你不一定总要解释原因，但你可以提出问题。艺术家说了些什么永恒的东西?他怎样说这些?有多少是时尚，多少纯是反映?为什么如

今沃尔特·司各特的作品如此难读，而简·奥斯丁却不是这样?为什么巴洛克艺术风格适合某一时期，而另一时期却显得过于炫目辉煌?

是否存在一个技巧标准，能够适用于所有时代的艺术，还是每个时代对标准都有各自不同的定义?你也许已不经意地意识到，这些年“技巧”已变成不入流的字眼，因为它含有“标准”的意思——即作品完成得好不好。这种方便的逃避的结果，导致了大量不能发出声音的演员，不会解释歌曲涵义的歌手，不能交流感情的诗人，词汇贫乏的作家——更不用说不会作画的画家。现在的教条是，技巧阻碍表达。不必说你不知道自己在做什么，如果你不知道怎样去做，那么你就能做得更好。

我认为，到了你帮助扭转这一潮流的时候了，方法是努力重新发现技巧：掌握选择的工具，无论是画笔、字词还是声音。当你开始觉察自由与草率，严肃的实验与自我疗法，技艺与即兴，力量与暴力之间的区别时，你就逐渐能够将山羊与绵羊区分开来，而这种区分形式我们竟阔别已久。所有你需要重新拥有的，不过是几条标准和能够看穿骗局的盖氏测量仪，而我们可以在急切需要这两者的领域——当代绘画开始艺术之旅。

我不知道什么更糟糕：不得不面对大面积的拙劣艺术，为的是发现些许可取之处，还是阅读评论家对此说的一切。其他任何一个表现领域都不会象画界一样如此盛行煞有其事的言谈，流行如此多的废话：艺术与艺术生存的评论氛围之间紧密地相互依赖的进一步证据。我将很乐意和你共享我们时代典型的故弄玄虚的东西。

第一则：一个抽象派画家画册目录的前言：

“受时间约束的沉思体验一种生活；具有挚情与可塑的虔诚，拜倒在女神玄秘之门下；执着追求一种描述内部冲动的纯粹的思想概念，形式化的图案虚构出神经中枢的平衡。”引录完毕。知道该画家画的象什么了吗？

第二则：《艺术新闻》上的一段评论。

“……怪诞的迥然不同的物质混合，但是怪异发展成他最近加剧的癌变，到处以某种形式出现……”接着，后面，“为辉煌的便秘所终止的事物与过程的暴饮暴食。”

第三则：摘自同一杂志，评论一位将汽车碎片焊接成抽象的形状的艺术家。

“每一碎片……被制成人类愤怒的一个极端，精疲力竭，一路争斗，具有似乎是偶然获得的正确形式。任何需要秩序与管束的技巧都只是人类的自我。不,这些必须是无自我的，无法控制的，未经设计的，迥然相异的，以给你一次重击——围绕电线杆时速50英里……”

“任何需要秩序与管束的技巧都只是人类的自我。”“只是”一词是什么意思？他们究竟在谈论什么？这是新闻写作吗？是评论吗？或是许多艺术家、评论家随便背离表演与评判标准的方式？与那些描述病态与堕落的作家相似，这些艺术家和评论家“反映他们四周的混乱。”我又要问了，谁的混乱？谁的堕落？

我过去一直认为，艺术的首要功能是于混乱中创造秩序——当然此处秩序的含义不是一丝不乱，一成不变，传统守旧或人工巧饰，而是指清楚明了，意志与构想能够藉此从表面的混乱中发现根本的真理。现在我仍这样认为。用汽车的零件来表现机器的非人道是不够的。这和把干花压在玻璃下展现自然一样生搬硬套，一样简单。

谈到这些，即以真实的材料（粗麻布，旧手套、瓶盖）代替颜料，去年一位评论家评价现代艺术博物馆的一次组合展览会时，这样说道：

“置于这次展览会上无可争议的艺术品，占展品总数的1/4甚至1/2。但其余的全是非艺术的，反艺术的及艺术的替代品——社会缺陷的美学对应物。正是那些缺陷使人们因流浪而陷入牢狱之灾。这些美学意义上的破产者头上没有合法的意识形态遮风蔽雨，口袋中无钱支付一顿像样的智慧之餐，更不要说精神三文治了。”

我引用约翰·凯纳迪载于《纽约时报》上的这段评论，作为将对有思想的公众的责任置于在知识分子小圈子里受欢迎之上的那种批评的一个例子。凯纳迪有勇气直抒已见，有能力阐述清楚：两项他的行业明显缺少的素质。

仅次于绘画，我认为音乐领域的欣赏与评价是最困难的。仅仅听过一次，是不大可能对新乐曲作出评判的。有的乐曲初听时象混乱的片断，再听两遍也许会有清晰的整体感。也许不会。听众唯一的救助，还是来自经验与联想的直觉，这直觉使他能够分别意图与偶然，设计与实验，伪称与确信。当代音乐与它的姐妹艺术绘画一样，大多都仅仅是创作者自身片断的反映——专注于自我与象征，忽略与他人的交流。总之，艺术家会对公众说：如果你不理解我的作品，是因为你愚钝。我以为你不愚钝。你可以对艺术家作出稍微甚至相当程度的让步，但假如你必须完全妥协，那就是他的错，不是你的错。务必坚持这一点。品读新诗时，也要记住，诗歌是音乐的被陌生化了的姐妹。

在这次极其仓促的艺术之旅中，当抵达戏剧这站时，你能够在两个层次上考察。你可以应用期待和纯真，沉湎于舞台上演绎的生活，如果演的好就激动，如果演的不好就厌倦；应用观众机制的一部分——用沉默或大笑表示好感，以咳嗽或骚动发泄不满。或者，你可以应用某些评判方法，这些方法能提高，而不是减少你的欣赏乐趣。

你可以问自己，演员是真正进入了角色，还是仅仅在自我展示？布景有助还是妨碍情绪的表达？剧作家对他自身、对他笔下的人物，对你是否真诚？沿着这一思路，你将逐渐学会区分真正创造性的演出与虚饰的武断的姿态，区分新鲜的观察与陈词滥调；区分矫揉造作的前卫戏剧和以全新方式诠释固有真理的前卫戏剧。

意图与技巧——目的与方式——这些是你在一切艺术领域进行评判的关键。画家在一块白画布上加了宽宽的一道黑条，黑条的边上滴着颜料，试图表达什么意思？是说明暴力？还是自画像？如是是其中之一，他是否使你信服？或者，是不是自我的一种姿态或一种治疗形式？如果它使你震惊，震惊你的什么？

那么这幅画着花瓶中鲜花的紧凑的小油画是什么意思？画家是否赋予鲜花新意？它与其他数以万计

的鲜花画是不是有所不同？它是不是具有超越画面之外的生命力或意义？它的形式与纹理中是否有些令人愉快的东西？问题并不在于作品是抽象的还是表现的，是“现代的”还是传统的。无情的一点是，问题在于它是否优秀。这是必须根据直觉、经验及联想由你自己作出的决定。它需要勇气与独立。而且，还包含评判错误的风险，和随着时间推移认识到做出了错误评判后所需要的虚怀若谷。随着年岁渐长，学识益多，我们的态度也可能改变，先前认为费解或晦涩的，日后也许会显出连贯性与启示性。固有的偏见、执拗的观点与没有观点一样贫瘠可怜。

然而存在着与宇宙本身一样永恒的标准。当你遵循标准时，你已获得了通往那难寻却不变的真理之国的护照。身处迷惑之林时要保管好它。并且永远不要害怕直陈已见。

“HowDoYouFeel”教案

教案 How Do You Feel 教学内容： A: How do you feel? B: Now I feel happy. Are you happy ? A: Yes, I am also happy. I want to smile. Teaching Goals（教学目标）: 1.学习表示情感的单词：happy smile sad cry angry s c r e a m h u n g r y e a t t h i r s t y d r i n k s l e e p y t i r e d e x c i t e d s l e e p r e s t j u m p 学习句型：How do you feel? I feel ... 2.学会如何描述自己的感觉，培养沟通的能力。 3.加强学生之间的交往，为学生创造开口讲英语的语境。教学重点： 1. 掌握句型：How do you feel? I feel ... 并且融会贯通。 2. 培养学生开口讲英语的能力。教学难点：学会正确地描述自己的感觉。教学方法： TPR 教学法。教具准备：装在信封中的分别印有对话与单词的小纸条。 A: How do you feel? B: Now I feel happy. Are you happy ? A: Yes, I am also happy. I want to smile. 每张纸条写一个单词：happy smile sad cry angry s c r e a m h u n g r y e a t t h i r s t y d r i n k s l e e p y t i r e d e x c i t e d s l e e p r e s t j u m p 教学过程： Step 1．导入新课。师示范对话。 A: How do you feel? B: Now I feel happy. Are you happy ? A: Yes, I am also happy. I want to smile. （反复几遍，并借助动作让学生了解意思。）

苏教版小学二年级牛津英语课文原文

Who’s he ? He is my father. Who’s she ? She is my mother. Who’s he ? He is my brother. Who’s she ? She is my sister. father. mother. brother. sister. What’s your father ? He’s a doctor. What’s your mother ? She’s a teacher. What’s your brother ? He’s a worker. He’s a cook. What’s your sister? She’s a nurse. a doctor a nurse a worker a cook. Look at the moon! Oh, it’s bright. Look at the star! Oh, it’s small. Sun star moon big small bright Clean the table, please. All right. Clean the chair, please. Ok. A door a window a desk a soft a table a chair What are these ? They are carrots . A carrot a bean a tomato a potato carrots beans tomatoes potatoes What are those ? They are ants . An ant a butterfly a flower a tree What’s that ? It’s an ant. It’s a flower. They are flowers. It’s a tree. They are trees. A pie, please. Here you are. Thank you. a pie a cake a hamburger a hot dog A cake. please. Here you are. Thank you. Have some rice,Mike. OK. Thanks，mum. I like rice. bread rice mike juice （不可数名词复数都不可以加s）Have some bananas，please. OK. I like bananas. Merry Christmas ! Merry Christmas ! The bell is for you. Thank you. A gift a bell a chocolate a sweet The gift is for you. Thank you. Put on your coat. All right. Take off your sweater. OK. a coat a sweater a T-shirt a skirt It’s cold. Put on your coat. It’s hot. Take off your coat.

Unit3Howdoyoufeel教案

Unit3Howdoyoufeel教案 module1 getting to know youunit 3 how do you feel? (period1)topic: feelingslanguage aims:using the key words in contexte.g.happy, sad, hungry, full, thirsty, tiredusing modelled sentences to describe feelingse.g i’m happy using wh-questions to find out how people feele.g. how do you feel?ability aims:students can describe feelings emotional aims:different situation, different feelingskey points:how do you feel? i’m …(predicative adjectives)difficult points: use the new sentence patters ‘i’m …’to describe feelingsmaterials:student’s book 4a( p13p16)cassette 4a and cassette playermultimedia: ppt procedures contents methods purposei. pre-task preparationrhymequestionshave the students listen to the recording for ‘listen and enjoy’on page 161. what’s the girl’s name?2. what’s the boy’s name?3. how is susie?how does susie feel?4. how is simon?how does simon feel?利用儿歌引出复习的内容通过教师的问题，让学生体会，了解同一个内容的不同问法ii. while-task procedurenew wordsand the sentences‘full, tired, angry, afraid’1. show

三年级英语上册 lesson13 HOW DO YOU FEEL获奖教案

Lesson 13HOW DO YOU FEEL ? 一、教学目标： 1、知识目标：（1）能够说，认识和口头运用happy, sad, cold hot tired （2）使学生能理解并能口头回答How do you feel? I feel_____. 2、能力目标：（1）能表达自己的高兴与悲伤，并询问别人。（2）能试唱本课的歌曲，并且做出相应的动作。 3、情感态度价值观：利用歌曲的演唱等形式让学生体会英语学习中的欢乐，敢于表达。发展其综合语言运用能力。二、教学重、难点：教学重点：单词和句子教学难点：学生对于“How do you feel ”和“Do you feel happy?”的区分。三、教具准备： 1、录音机和磁带，卡片。四、教学过程： Step 1:Greeting and Review (1)Hello! How are you? (2)Sing a song“How are you?” (老师和同学之间边握手边唱) Step 2:New Concept

(1)T：Doyoufeelhappy?Ifeelhappy!（唱完歌曲，自然引出happy,让学生先感知）Okay ,today we’ll learn our new lesson. (2)把表示高兴的卡片贴在黑板上，或是画一个笑脸，让学生自然的说出笑，或是高兴的，然后播放录音，让学生通过录音模仿happy的读音，板书，分组读单词，并且做动作。以此方法教授sad。 (3)“小老师”领读单词，“Quickly answer”快速单词卡。(两个词都比较简单，练习时间不用很长。) (4)老师做动作，带表情说句子。“I’m happy（可做高兴状）”，“I’m sad（可做伤心状）”。学完单词后，我们只要做出这个动作，学生就能很简易的说出这个句子，鼓励学生大胆模仿。T: I’m happy接着说I feel happy!引出feel,板书这个句子，feel用彩色粉笔写，领读feel。 (5)出示歌谣：Happy、Happy、Happy！Sad、Sad、Sad！I feel happy! I feel sad!边做表情边说歌谣。(6)利用手偶，教师可用例外的声音模仿Jenny和LiMing 的对话；引出句子，Doyoufeelhappy?学生上讲台当小老师，领读句子。（利用手偶引入新知，直观、有用）和学生做几组练习。然后，用Danny和Li Ming的手偶演示下一个小对话，板书How do you feel ?练习。小组分别练习这两个句子，表演。(由于这里是难点，所以要分开练习。) (7)Game:准备两张圆片，一张画笑脸，一张画哭脸，背对背粘在一根小棍上。找一名自告奋勇者到前面转动小棍，同时全班提问Howdoyoufeel?问完即停止转动，哪一面面向大家，该生就要回答出那一面的感觉，如I feel happy. (8)T: Are you tired?你们累了吗？学唱歌曲How do you feel? Step 3:homework 1、自己画一幅自己的画像，标出Happy或是Sad，板书设计 Lesson 13: How do you feel?

江苏译林牛津小学的所有英语单词(默写版)

一(个,件) (an 用于元音音素开头得词前) 一(纸)盒一(茶)杯一(玻璃)杯许多,大量一双(条,副……) (因惊奇或出乎意料而) 发出“啊”得喊叫大约;关于缺席手风琴地址非洲在……以后;在……后面放学后下午,午后又,再以前 [表示惊恐、愉快、遗憾等] 啊;呀机场阿拉丁(神话《一千零一夜》中寻获神灯并以此召唤神怪按其吩咐行事得少年) (用以粘贴照片、邮票等得) 粘贴簿所有得;全部好;行;不错沿着也,还总就是美国美国人;美国得;美国人得然后;加;与;[用于句首] 还动物回答,答复蚂蚁任何得;一些什么事(物);任何事(物) 还要别得东西吗？苹果四月手臂艺术;美术作为,当做与……一样问在在家立刻, 马上在学校;在上课在……后部;在……后面八月伯母;舅母;婶;姑;姨澳大利亚澳大利亚人秋季 (离)开回(原处) 背痛坏得;严重得包;袋球球类运动圆珠笔气球香蕉块;条棒球运动;棒球篮;筐篮球运动;篮球浴室,盥洗室就是;成为;变成善于迟到海滩

熊美丽得,漂亮得美地因为床卧室,寝室蜜蜂在……以前开始在……后面京剧皮带在……旁边;靠近好些大得自行车鸟生日饼干黑色得黑板毛毯,毯子 (女式)衬衫吹吹灭蓝色得;蓝色书书架;书橱书签书店两个(都) (盛液体得) 狭颈小口瓶碗盒子;箱子男孩孩子们面包早餐明亮得英国人扫帚兄;弟褐色得,棕色得;褐色,棕色刷大楼;建筑物公共汽车忙(碌)得但就是蝴蝶买 [表示交通等得方式] 乘顺便地;附带说说 [ 多用于熟人之间 ] 再见,再会笼子蛋糕;糕;饼计算器通话;(一次)xx ; 打xx(给) 照相机野营;营地野营营地野营旅行能;可以我能为您效劳吗？(服务员等常用得招呼语) 不能;不可以蜡烛便帽汽车;小汽车贺卡;卡片;纸牌小心地,仔细地胡萝卜搬,运,带 (纸)盒动画片,卡通猫

Howdoyoufeel教案

《Unit6 Haw do you fell》第一课时Let’s learn 【学习目标】： 1、能听、说、读、写本课时词组：angry, afraid, sad, worried, happy 2、能够听说认读句子：I’m.../ He is.../ There are....并能在实际中运用【教学重点】学习词组：angry, afraid, sad, worried, happy. 学习句型：I’m.../ He is.../ There are.... .. 【教学难点】 worried 的发音和拼读。一、Warm-up Sing the song :If you’re happy ,clap your hand 提问How do you feel? 二、Presentation 1、教学单词：happy 课件出示几个人高兴的图片， T:提问：What does he do?（复习上个单元学的句子） S:Heis a student. T:Haw does he feel?（用本单元的标题句型提问） S:He feels happy. 板书happy 并教学句型I’m.../ He is.../ There are...... 1、用上述方法教学单词angry, afraid, sad, worried 2、What’s missing

2、教学A.Let’s learn （1）教师播放课文录音，学生整体感知课文内容。（2）教师再次播放录音，每句后暂停，学生跟读 4、完成课本Write and say 三、巩固与扩展 1、Sad the chant: Happy,happy,I'm happy.（食指放在脸颊的两旁） Sad,sad, I'm sad.（以手拭泪） Worried,worried,I'mworrid（双手托下巴做担心状） Angry,angry, I'm angry.（两手叉腰并瞪眼） Afraid,afrid,I'm afraid.（双手放在下巴边，并侧身躲避） 2、Game（一同学表演，全班说，然后换全班表演，同学说）四、Practice 当堂检测 1、完成课本Write and say 2、排序五、总结回顾 1.Sum up. 六、家庭作业【板书设计】： Unit 6 How do you feel How does he/she fell? happy angry I’m.../ He /She is.../ There are... sed worry afraid

(苏教版)译林牛津小学英语单词表-2016打印版

江苏译林牛津小学英语单词表 (3A – 6B) Vocabulary A a a, an 一（个，件）(an 用于元音音素开头的词前) (3A1; 4A1, 3) a carton of 一（纸）盒 (4B9) a cup of 一（茶）杯 (4B7) a glass of 一（玻璃）杯 (4A9) a lot (of) 许多，大量 (5A1) a pair of 一双（条，副,,） (4A6) aah （因惊奇或出乎意料而）发出“啊”的喊叫 (5A3) about 大约；关于 (4B3; 5A9) absent 缺席 (5B2) accordion 手风琴 (3B10) address 地址 (6B7) Africa 非洲 (6B6) after 在,,以后；在,,后面 (5A7) after school 放学后 (5A7) afternoon 下午，午后 (4A7) again 又，再 (4A8) ago 以前 (6A3) ah [表示惊恐、愉快、遗憾等] 啊；呀 (4A2) airport 机场 (4B6) Aladdin 阿拉丁（神话《一千零一夜》中寻获神灯并以此召唤神怪按其吩咐行事的少年） (6A2) album （用以粘贴照片、邮票等的）粘贴簿 (3B3) all 所有的；全部 (5A1, 8) all right 好；行；不错 (3A4, 4A1) along 沿着 (6B3) also 也，还 (6A6) always 总是 (6A1) America 美国 (5B9) American 美国人；美国的；美国人的 (5B 9) and 然后；加；和；[用于句首] 还 (3A1; 4A 7, 8, 6) animal 动物 (5A4) answer 回答，答复 (3B6; 6A7) ant 蚂蚁 (5B8) any 任何的；一些 (5A1) anything 什么事（物）；任何事（物） (4B7) Anything else? 还要别的东西吗？ (4B7) apple 苹果 (3A3; 4B4) April 四月 (6A2) arm 手臂 (5B6) art 艺术；美术 (5A9) as 作为，当做 (6A2) as , as 和,,一样 (6B1) ask 问 (6A1) at 在 (4A7) at home 在家 (5A6) at once 立刻, 马上 (5B1) at school 在学校；在上课 (5A1) at the back of 在,,后部；在,,后面 (6A7) August 八月 (6A2) aunt 伯母；舅母；婶；姑；姨 (3B3; 5B3) Australia 澳大利亚 (5B9) Australian 澳大利亚人 (5B9) autumn 秋季 (6A5) away （离）开 (6A1) B b back 回（原处） (5A1) backache 背痛 (5B2) bad 坏的；严重的 (3A5; 5B2) bag 包；袋 (3B1) ball 球 (4B6) ball game 球类运动 (3B10) ball pen 圆珠笔 (3A5; 4A1) balloon 气球 (4A4) banana 香蕉 (3A3; 4B4) bar 块；条 (3B8) baseball 棒球运动；棒球 (3B10) basket 篮；筐 (3A9) basketball 篮球运动；篮球 (3B10; 4B7) bathroom 浴室，盥洗室 (3B7; 5A2) be 是；成为；变成 (4A8; 4B3) am (3A11) are (3A5; 4A1) aren’t = are n ot (4B3) is (3A2;4A1) isn’t = is not (4A2) be good at 善于 (6B2) be late for 迟到 (4B2) beach 海滩 (6A6) bear 熊 (4A2) beautiful 美丽的，漂亮的 (5B3) beautifully 美地 (5B4) because 因为 (4B1; 6B5) bed 床 (3A4; 3B7) bedroom 卧室，寝室 (3B7 ;5A2) bee 蜜蜂 (5B 8) before 在,,以前 (3B5; 6A5) begin 开始 (5B7) behind 在,,后面 (5A2)

UnitHow do you feel教案

Unit 6 How do you feel ? 第一课时教学内容：A Let’s try/Let’s talk 教学目标: 1. 能够在图片和教师的帮助下理解对话大意，并回答对话下面的问题。 2. 能够用正确的语音、语调朗读对话，并能进行角色表演。 3. 能够听、说、读、写，并在情景中运用以下句型：be + 表示情绪的形容词询问他人的情绪或描述自己的情绪。 4. 能够在语境中理解生词chase, mice, bad, hurt的意思，并能正确发音。 5. 能完成本页看图描述自己情绪的活动。教学重点: 1. 能够用正确的语音、语调朗读对话，并能进行角色表演。 2. 能够听、说、读、写，并在情景中运用以下句型：be + 表示情绪的形容词询问他人的情绪或描述自己的情绪。教学难点: 能够在语境中理解生词chase, mice, bad, hurt的意思，并能正确发音。

教学方法：对话法教学准备：多媒体课件，单词图片教学过程: Step1．Preparation 1.Greeting 2.Let’s talk about our life.引用学过句型，操练交流。 3、学习Let’s try （1) 播放Let’s try中的内容，指导学生完成探究学习1中的听力任务。（2）播放Let’s try中的录音，给出学生题目中的情境，指导学生完成听力选择。 Step2 Presentation 1、完成Let’s try后，教师提问:What film do they watch ?请学生带着问题观看动画片获取信息。 2、就卡通片的具体内容提问:what is the cat’s job ? What does he often do? Why does he do that ?请学生再次观看动画获取信息。 3、教师提问 how do the mice feel ? How does the cat feel ?引导学生回答：they are afraid of him . The cat is angry with them . 4、教师呈现Let’s talk 的插图，引导学生看图理解chasing意思，并理解新句子：maybe

苏教版牛津小学英语六年级下册

小组成员：03110923许玲 03110925杨宋 03110929朱秋环 03110932谢晓苏教版牛津小学英语六年级下册——unit5 The seasons 一、教学内容分析：本节课是苏教版牛津小学英语6B Unit5 The seasons B部分 Look, read and learn。学习的是与气候和天气相关的名词及形容词，通过展示一些季节和天气的图片，激发起学生的学习兴趣，更好地投入到教学活动中来。二、学习者分析：本课内容的教学对象为六年级的学生，英语有一定的基础，对英语学习有着极大地热情和兴趣，学生之间能够使用英语进行简单的沟通交流，在小组活动中积极踊跃。三、教学目标： 1.学习B部分，学生会读和拼写spring, summer, autumn, winter。 2.掌握三会单词warm，cool，sunny，cloudy，rainy，windy。 3.掌握三会句型 1.Which season do you like best? I like... Why? Because it's...I can... 2.What’s the weather like... 四、教学重点：熟练掌握用来形容季节和天气的单词和句型。

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板书设计： Unit6Howdoyoufeel? BReadandwrite&Let’scheck&Pronunciation Heisafraid. Heisstuckinthemud.Heisworried. Theyarestrong.TheypullRobinoutofthemud. Everyoneishappy. 教学过程：一、课前热身（warm-up） 1.Freetalk T:Goodmorning,boysandgirls. Ss:Goodmorning,teacher. T:Howdoyoufeeltoday? Ss:Iam…thanks. T:Nicetoseeyou. Ss:Nicetoseeyou,too. 2.教师播放歌曲“Ifyou’rehappy,clapyourhands”的录音，全班学生跟着录音唱歌曲，活跃课堂气氛。 APPT出示各种表情 T：Howdoeshe/shefeel? S:He/Sheis… T:whatshouldhe/shedo?

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电脑课件、教学图片、奖励用的小笑脸图片、手偶 [ Teaching steps ] Step1. leading-in Invite everyone to sing the song “ Hello,hello,how are you ?” （设计意图：教师走下讲台面带微笑边唱歌边与学生握手问候，创造出轻松愉快的氛围，这不仅复习了旧知识还渲染了学习英语的良好气氛。） Step2. Learn new words Oh,the song is nice.I`m happy.Are you happy?教师出示表达“happy,sad,mad,tired,scared”的表情图片，同时也用自己表情加以表现，并读出单词，学生跟读。（设计意图：用图片和真实表情呈现新单词，能激发学生的兴趣，学生理解得很快。） Step3. play a guessing game 1) 教师做出表情让学生猜单词，答对以后会奖给学生一个笑脸，并要求学生做出此表情 2）把学生分为男、女生两组进行做表情、猜单词游戏（设计意图：游戏是儿童学习的一种重要途径，也是激发学生学习兴趣的最佳方法。因此这部分教学在充分激发学生学习兴趣的前提下，重视对学生思维、观察能力的培养。） Step4. have a chant

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2. go home together一起回家 3. after school放学以后 4. talk about谈论有关…… 5. come soon 快到了 6. the third of March三月三日 7. on the twenty-second of July 在七月二十二日 8. on the 18th of October 在十月十八日 9. your birthday你的生日 10. Let’s wait and see 让我们等一下看看 11. blow out the candles吹灭蜡烛 12. as a birthday present作为生日礼物 13. birthday cake生日蛋糕 14. come to my birthday party 来参加我的生日聚会 15. have a birthday party举办生日聚会 16. a VCD of Japanese cartoons 一张日本卡通光盘 17. open the door 开门 18. make a birthday card 做一张生日贺卡 19. take off脱下 20. blow out 吹灭 21. a piece of paper一张纸 22. fold it in half把它对折 in the bay When’s your birthday? My birthday’s on … What would you like as a birthday present? I’d like … What date is it today? It’s the 16th of October. My birthday is coming soon. Would you like to come to my birthday party?

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江苏牛津小学英语B期末练习题集团公司文件内部编码：（TTT-UUTT-MMYB-URTTY-ITTLTY-

江苏省牛津小学英语5B期末练习题 ( ) What day is it today A. Five past seven ( ) What are you doing there B. It’s Monday. ( ) How many lessons do you have this morning C. I still feel ill. ( ) What time is it now D. She’s from the UK. ( ) How do you feel now E. I have four. ( ) Do you speak Japanese F. Yes, he can. ( ) Where is Nancy from G. No, I speak French. ( ) Can he jump high H. We’re playing chess. ( ) 1 She likes and flowers. A. cook, grow B. cooking, grow C. cooking, growing ( ) 2 We are ready breakfast. A. to B. for C. at ( ) 3 The waiter and waitress table tennis every day. A. are playing B. play C. plays

( ) 4 We have no lessons the weekends. A . in B. on C. at ( ) 5 Show your stamps, please. A. me B. we C. his ( ) 6 The students are ________ follow Mr Ma’s orders. A. trying to B. trying C. try to ( ) 7 —Do you have hobbies —Yes, I do. A. some B. any C. / （）6.That’s an apple, apple is big and red. A .an B. a C. the （）7.Touch your knee your right hand. A. with B. of C. in （）8.-- do you feel now? --I still feel ill. A. What B. How C. Which （）9.Look, my brother in the classroom. A. read B. reads C. is reading （）10.Wang Ding many beautiful stamps. A. have B. is C. has （）11.--How many Science do you have in a week?