綜合教程補(bǔ)充教案-第四冊(cè)

前言

　　“新世紀(jì)高等院校英語專業(yè)本科生系列教材”為普通高等教育“十五”國(guó)家級(jí)規(guī)劃教材，選材廣泛新穎，編寫理念先進(jìn)科學(xué)，體系完整宏大。各冊(cè)循序漸進(jìn)，全面培養(yǎng)學(xué)生的英語綜合能力，并恰當(dāng)?shù)厝诤狭藢?duì)學(xué)生的素質(zhì)教育，有助于其發(fā)展成為高素質(zhì)的復(fù)合型人才?！　≡撓盗薪滩闹校毒C合教程》為其主干教材，共有八冊(cè)。原教材配有教師用書。為了給教師提供更大的教學(xué)便利，幫助教師更充分地挖掘教材，更好地發(fā)揮教材的效用，上海外語教育出版社組織編寫了本套《綜合教程補(bǔ)充教案》，作為所配教師用書的有效補(bǔ)充?！　”咎捉贪该繂卧究蚣苋缦拢骸　eaching P1an為每單元教學(xué)的總體教學(xué)時(shí)間安排建議，教師在實(shí)際操作過程中可以靈活變通。　　textI部分：　　Lesson summal‘y明確本單元教學(xué)任務(wù)，列出該單元討論的主題、重點(diǎn)詞匯以及相關(guān)的語法點(diǎn)。　　Background Information旨在補(bǔ)充與本單元課文內(nèi)容相關(guān)的文化知識(shí)點(diǎn)?！　tylistic Features簡(jiǎn)要介紹本單元課文的文體風(fēng)格、篇章結(jié)構(gòu)以及突出的修辭手段及其文體效果，為教師全面把握文章的精髓提供參考。　　Teaching Guide明確本單元第一課的教學(xué)目標(biāo)并提供相關(guān)的教學(xué)建議。本部分注重學(xué)生閱讀能力的培養(yǎng)，設(shè)計(jì)了多種問題或活動(dòng)，幫助學(xué)生在探索中熟悉文章的內(nèi)容、篇章結(jié)構(gòu)與修辭手法。本部分基本分為以下幾步驟進(jìn)行：Pre.reading activities，While-reading activities.After-l：eadingactivities，Detailed reading。

內(nèi)容概要

　　《綜合教程補(bǔ)充教案（第4冊(cè)）》是“新世紀(jì)高等院校英語專業(yè)本科生系列教材”為普通高等教育“十五”國(guó)家級(jí)規(guī)劃教材，選材廣泛新穎。編寫理念先進(jìn)科學(xué)，體系完整宏大。各冊(cè)循序漸進(jìn)，全面培養(yǎng)學(xué)生的英語綜合應(yīng)用能力。本套《綜合教程補(bǔ)充教案》充分考慮教學(xué)需要，內(nèi)容豐富，板塊眾多，包含背景知識(shí)、修辭分析、教學(xué)建議、課堂活動(dòng)、難詞難句、佳句欣賞、語法分析等等與《綜合教程教師用書》配合使用，相輔相成，為教師講授《綜合教程學(xué)生用書》提供豐富的教學(xué)資源，幫助教師更充分地挖掘教材，更好地發(fā)揮教材的效用。

書籍目錄

Unit 1TextⅠ Never Give In，Never，Never，Never．TextⅡ Promise and Tragedy——-John F.KennedyUnit 2TextⅠ Space Invaders．TextⅡ Space and Distance．Unit 3TextⅠ Alienation and the InternetTextⅡ American Online：Losing the Battles，butWinning the WarUnit 4TextⅠ A View of MountainsTextⅡ Statement at the 2003 Session of United Nations　Disarmament CommissionUnit 5TextⅠ The Tapestry of FriendshipTextⅡ My Daughter，My FriendUnit 6TextⅠ A French FourthTextⅡ Stuck in the MiddleUnit 7TextⅠ The Selling of the PresidentTextⅡ What Makes a LeaderUnit 8TextⅠ The MonsterTextⅡ Simple Habits，Deep ThoughtsUnit 9TextⅠ The Discus ThrowerTextⅡ A Rage against DyingUnit 10TextⅠ How I Found My VoiceTextⅡ ThankYou．Mr．ChipsUnit 11TextⅠ Mountmn LionS AttackTextⅡ Terror in the NightUnit 12TextⅠ Christmas Lost and FoundTextⅡ One Small Stone，UnforgottenUnit 13TextⅠ Promise of BlueTextⅡ My Son．the LionUnit 14TextⅠ The Idiocy of Urban LifeTextⅡ The CityUnit 15TextⅠ DollyS False LegacyText 1I Quietly．Animal Cloning Speeds On wardUnit 16TextⅠ The Story of an EyewitnessTextⅡ Memories of the San Francisco Earthquake and FireTest for Units 1-4Test for Units 5-8Test for Units 9-12Test for Units 13-16Test for Units 1-16Appendix：Key to the Tests

章節(jié)摘錄

　　Wagner：Zenith of German Romanticism　Although he was undoubtedly the most controversial musical figure ofthe nineteenth century，Richard Wagner was a great literary，philosophicaland political activist whose contributions to the development of German Ro-manticism were unrivaled by any of his contemporaries.His life and worksmay be said to crown the musical achievements of German Romanticism，but they are simultaneously celebrated and condemned like the works of noother composer in music history.His music dramas are hated as much asthey are worshiped in the world today，but even among those who damnWagner as a human being，his genius as a composer is not denied.　It is a far cry from the date of the first extant opera to the music-dramasof Richard Wagner.The opera，as regards its essential form，is old enough.The Greeks knew it，and it was probably well established before their time.In the tragedies of Aeschylus，Sophocles，and Euripides，there was musicalrecitation，and the choruses were sung in unison.But only a measure or twoof this ancient music remains to show what it was like.It is to the age of theRenaissance，with its attempts to revive old-time Greek art，that we owe thefirst specimens of what we now understand as opera.　Wagner’S theory of opera，or rather of music-drama，as he preferred to call it，was peculiarly and essentially his own.Vast quantities of ink have been shed by innumerable pens in more or less elaborate explanations of that theory.Let it not be supposed，however，that there is anything bewilderingly ab-struse about the Master’S doctrine of music.drama.　　The first thing to understand clearly is that Wagner was dissatisfied with the form and style of the typical Italian opera of his day.It was not a serious art form.It was designed chiefly for display——display of voice，and pretty costumes，and graceful action in the love-duets.

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