近年来国家对优秀传统文化越来越重视，古典诗词作为其重要载体，在基础教育阶段中所占的分量在课程标准和教材的几经变更下也越来越重。古诗词缘情而作，从先秦两汉时期对诗歌之情的表述暗含伦理道德之义，到魏晋之后个体性灵和情感在诗词中得到张扬，古代文论家对于诗歌情感的重视可见一斑；从文学接受角度看，诗词情感也是诗词接受的重要方面和影响诗歌接受的重要因素。《普通高中语文课程标准》（2017年版2020年修订）中指出，文学类文本的阅读应引导学生在感受形象、品味语言和体验情感的过程中加深对作品的理解并提升文学鉴赏能力，可见课标十分强调学生对文学作品情感之美的体验。而基于文献综述，笔者发现古诗词教学依旧存在着对情感体验的重视不足、相应教学设计创新不够、学生主体性激发不够、将情感视作目标和结果却忽视其作为本体和过程的价值等问题。但现有研究并未完全说明情感导向的教学策略究竟如何灵活实施于课堂中，是否有较为系统的策略能够引导和提升学生在古诗词学习中的情感体验。因此，本研究目的在于：探究教师在教学过程中引导学生生成并提升情感体验有哪些具体而系统的实施策略；而成功帮助学生生成和提高情感体验的课堂从教学策略实施的角度看有什么特点。本研究的理论意义在于促进情感教育理论在具体学科领域的发展，实践意义在于帮助教师优化古诗词教学，避免语文课堂的过度应试化，彰显语文学科的人文性。

本研究以朱小蔓教授的情感教育理论、叶嘉莹先生的“兴发感动”说和孙绍振先生的文学文本解读学为理论基础，采用王荣生教授提出的理论取向的课例研究方法，将非参与式观察法、实物分析法和访谈法作为实证资料的收集方式。笔者首先根据朱小蔓教授对情感教育内在过程三阶段的划分——情动感受过程、体验理解过程、价值体系化与人格化过程，结合“意以象尽，象以言著”的古典文论，构建出课例的一级分析框架：情动感知——艺术语言层次的感知；体验生成——艺术形象情感层次的体验；感发理解——艺术理性意义层次的理解。这三个层次代表一堂能够唤起和提升学生情感体验的古诗词课在理论上应该包含的由浅入深的三个阶段。笔者拟对收集到的课例划分成这三个环节，在此框架下对教学策略做进一步的分析和归纳总结。接着，笔者借助叶嘉莹和孙绍振先生的理论对课例进行筛选，一方面在实习期间按方便性取样的原则对X、Y、P三位老师进行了现场观课获得部分课例，另一方面按目的性取样原则通过网络资源获得名师课例，最后得到10位教师的22堂课，内容涵括《登高》《春江花月夜》《将进酒》《琵琶行》《短歌行》《江城子·乙卯正月二十日记梦》《涉江采芙蓉》《鹿柴》等不同时代、不同诗人、不同风格的诗词课堂。笔者将其中关键性课堂片段转为文字实录，按照上述三个环节进行划分和编码，再进行内容分析。课例分析结束后，笔者以方便性取样原则访问了4名教师，以期对课例分析的结果做细节上的补充。

本研究发现，教师能够通过系统的策略在古诗词课堂中引导学生生成和提升情感体验，在不同环节大致有如下的策略：1）因声求气（情动感知——艺术语言层次的感知）；2）知人论世、想象还原、以诗解诗(体验生成——艺术形象情感层次的体验)；3）以意逆志（感发理解——艺术理性意义层次的理解）。通过观察、课例分析和访谈，发现一线教师成功使用情感体验提升策略时具有策略使用灵活、关注学生情感体验的动态生成性与滞后性、注重知情结合三大特点。基于以上研究结果，笔者对古诗词教学实践提出了一定的建议。

Classical poetry is based on emotion. From the expression of the emotion of poetry in the pre-Qin and Han Dynasties, which implied the meaning of ethics, to the expression of individual spirit and emotion in the poetry after the Wei and Jin Dynasties, it can be seen that the ancient literary critics attach great importance to the emotion of poetry. From the perspective of literary acceptance, poetry emotion is also an important aspect of poetry acceptance and an important factor affecting poetry acceptance. In recent years, due to the emphasis on the excellent traditional Chinese culture, classical poetry, as an important carrier, has become more and more important in the basic education stage under the changes of curriculum standards and textbooks.  The Chinese Curriculum Standards for Ordinary High Schools (2017 edition 2020 revision) points out that on the reading of literary texts, teahcer should guide students to deepen their understanding of works and improve their ability of literary appreciation in the process of feeling image, tasting language and experiencing emotion. It can be seen that the curriculum standard emphasizes students' experience of emotional beauty of literary works. Nevertheless, upon conducting a literature review, the author discovered that ancient poetry teaching still faces certain challenges, including a lack of emphasis on emotional experience, taking emotion as a goal and result but ignoring its value as an ontology and process, insufficient innovation of corresponding teaching design, and insufficient stimulation of students' subjectivity. However, the existing research does not explain how the emotion-oriented teaching strategies are flexibly implemented in the classroom, and whether there are more systematic strategies that can guide and improve students' emotional experience in the learning of ancient poetry. Therefore, the purpose of this study is to explore the specific and systematic implementation strategies for guiding students to generate and improve their emotional experience in the teaching process, and what traits teachers have when using these strategies successfully. The theoretical significance of this study lies in promoting the development of emotional education theory in specific subjects, and the practical significance lies in helping teachers to optimize the teaching of ancient poetry, avoid the excessive exam-taking of Chinese classroom, and highlight the humanism of Chinese discipline.

This study is based on Professor Zhu Xiaoman's theory of emotional education, Mr. Ye Jiaying's theory of "Xingfa Gandong" and Mr. Sun Shaozhen's theory of literary text interpretation. It adopts the theory oriented lesson study method proposed by Professor Wang Rongsheng, and uses non-participatory observation method, object analysis method and interview method as the collection methods of empirical data. According to Professor Zhu Xiaoman's division of the three stages of the internal process of emotional education - emotional feeling process, experience understanding process, value systematization and personalization process, combined with the classical literary theory of "meaning is done by image, image is spoken", the author constructs a first-level analysis framework of lesson examples: emotion perception —— perception of artistic language level, experience generation —— experience of artistic image and emotional level, sensory understanding —— understanding of rational and philosophical thinking level. These three levels represent the three stages of theory that an ancient poetry class should evoke and enhance students' emotional experience, from shallow to deep, The author plans to divide the collected lessons into these three satges. Under this framework, the teaching strategies are further analyzed and summarized. Then, the author used the theory of Ye Jiaying and Sun Shaozhen to select the class examples. On the one hand, during the internship, two teachers X and Y were observed on the spot according to the principle of convenience sampling to obtain part of the class examples; on the other hand, the famous teachers' class examples were obtained through network resources according to the principle of purpose sampling. Finally, 22 classes were obtained from 10 teachers. The content includes "DengGao" "ChunJiangHauYueYe" "QiangJinJiu" "PiPaXing" "DuanGeXing" "JiangChengZi YiMaoZhengYueErShiRiJiMeng" "SheJiangCaiFuRong" "LuZhai" and other different times, different poets, different styles of poetry class. The author turned the key classroom fragments into text records, divided and coded according to the above three links, and then carried out the content analysis. After the sample analysis, the author visited 5 teachers based on the principle of convenience sampling to supplement the results of the sample analysis.

This study found that teachers can through the system strategy in ancient poetry classroom guide students to generate and improve emotional experience, in different links roughly have the following strategy: YinShengQiuQi (emotion perception —— art language level of perception), ZhiRenLunShi, XiangXaingHaunYuan, YiShiJieShi (experience generation —— art image emotional level experience), YiYiNiZhi (sensory understanding —— rational and philosophical thinking level understanding). While using strategies, teachers should follow the principle of flexibility, the dynamic generation and lag of emotional experience, and the principle of informed combination. Drawing from the aforementioned research findings, the author offers several recommendations pertaining to the practical implementation of ancient poetry teaching.