高中英语Unit1Thephantomoftheoperareading教案牛津上海版S1B.doc

Chapter1. The Phantom of the Opera -Reading
一、 章节分析（Reading section ）
（一）综述
本章节讲述了一个故事：剧院魅影。由于此剧在上海曾经演出过，因此学生们对这个主题应该是比较熟悉甚至热爱的。因此，教师应充分利用学生的兴趣，将此名剧同课文相结合，来进行教授。
本课的任务有两个：
1 学生通过对课文的学习。掌握一些核心词汇，例如：capture, kidnap, mask, magically等。
2 通过学习课文，了解故事的写作方法，为writing部分做准备。
（二）阅读目标
1 知识目标
学习课文中重点词、词组、句型和语法。
2 能力目标
通过阅读进一步了解歌剧的历史以及其他方面的知识。
3 情感目标
对文中的phantom的内心世界进行分析，判断文学作品中人物的善恶和性格的复杂矛盾性。
（三）教学方法
采用任务型教学法组织教学，通过听说，讨论等具体活动，达到教学效果。
（四）重点和难点
1 词汇学习
1) 核心词汇
below
obey
phantom
role
kidnap
audience
release
burst
magically
injure
2) 拓展词汇
opera
angel
exist
capture

3) 词组和短语
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) 句型学习
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,…
教学设计（Teaching Designs）
教学内容
教学实施建议
教学资源参考
Pre-reading
要学好本课,建议老师在这个阶段完成以下两个任务:
l 通过图片和歌剧中的音乐将学生带入<剧院幽灵>所带来的特定的场景.
l 鼓励学生说出自己看海报和听音乐之后的感受,初步体会这部风靡世界多年的名作所来的震撼.为进入课文学习作好铺垫.
［具体处理这部分内容的建议见[链接1,2]

中学英语合作网
《牛津英语教学参考》Page 1
While-reading
这是本课的重点部分.要求老师与学生一起走进这部名剧.同时初步了解歌剧院的整体布局 (见练习A). 可以由PHANTOM 和OPERA谈起.将课文中出现的词汇贯穿其中,使学生在比较自然的情景中习得课文中的词汇.
l 通过picture (课本P2)和Skimming （同上）了解歌剧院的布局以及故事的大概梗概。
l Scanning 部分通过True or False练习，使学生熟悉故事情节，还通过（P5）中的Read and think 使学生加深对于故事主人公Phantom， Christine and Raoul之间复杂而又凄美的爱情的了解。从而对于剧中人物的遭遇寄予更多的同情和理解。这部分教师除了利用课本中所提供的素材和练习之外，师生间用问答方式则更好。建议文中的填词部分放到课文整体阅读和理解之后进行，这不仅提高教学效果，更重要的是符合学生思维发展的循序渐进规律，让课堂的发展更有层次和合理。
l 接下来的环节是Further understanding of the text。 学生在这一环节里，可以用适当的形容词来描述文中的主要角色。这个设计安排既可以回顾课文的主要内容，还可以看出学生的理解是否准确，很多精彩的智慧火花会在这一刻出现；这样安排的另一目的是为下一课时language部分作准备。
l Consolidation and conclusion 指导学生完成课文后的Scanning部分的其他练习。

Post-reading
安排学生讨论：What other operas have you ever heard of? Which one is your favorite? Which character impressed you most? Why:?同时推荐学生阅读补充材料：见链接4

[链接1]

说明：
对课文背景知识的介绍。

the Phantom of the opera
    故事一开始是一场拍卖会，其中一只八音盒使老年的拉包尔回到了过去：当时青年拉包尔是歌剧院的出资人，新女歌剧演员克里斯汀与他相爱，一个神秘的声音将克里斯汀带到剧院下面地下湖的幽灵的巢穴，幽灵爱上了她，他开始教她声乐，并为了让剧院使用克里斯汀上演主角，他甚至用恐怖的手段来达到目的。
    但当它发现拉包尔和克里斯汀的相爱时，它试图阻止这一切，当他失败时，他在最后的演出后，劫持了克里斯汀，但拉乌尔紧紧追赶到地下湖，但幽灵擒获了拉包尔，用他的生命来要挟克里斯汀，克里斯汀勇敢面对了幽灵提出的可怕选择。幽灵终于绝望了，他放他俩离去，自己却柔声地对着八音盒唱起了歌，八音盒开始神奇地转动起来......，最后当人们追来时，他已经消失，只在座位上留下下一个白色的面具。 
    该剧也是音乐剧大师韦伯的代表作，该剧以精彩的音乐，惊险的剧情、恐怖的氛围，充满悬念和紧张感，完美的布景，足成为音乐剧中永恒的佳作。　

[链接2]

说明：
The Phantom of the Opera 歌词欣赏

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 combined
The phantom of the opera is there inside my mind
（见The Phantom Of The Opera.mp3）
[链接3]
说明：
本部分建议采用任务型阅读教学方法。通过略读、扫读、细读等不同手段来提高学生的阅读理解能力，从而培养学生的阅读技巧。
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
教师在进行这一部分练习时，不光只是带领学生练习，更重要的是要通过设问引领学生进入课文。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 come 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?

通过这样的讨论，我们可以让学生在考虑问题和阅读课文的时候，将对于课文的理解立体起来，不但看到了表面的一些东西，更有助于走入故事各主人公的内心世界，设身处地地站在主人公的位置考虑问题，从而加深对于课文的理解。
2. Read and think
这部分的练习主要是对于课文细节的把握，教师依然可以采取师生互动的方式进行。
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
这一部分是教师引领学生在进行了以上对于课文的整体理解以及细节讨论的基础上，通过思考和小组讨论，用他们所知道的形容词来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. 见链接4。

[链接4]
说明：
关于opera的补充阅读材料，拓展学生的阅读能力，并加深对课文主题的理解。

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 composer 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 become 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 coming 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 composing.

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 composer 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 composers, 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 become 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