课堂教学管理艺术形成探微

确立现代教学与现代管理的观念，掌握基本的教学管理方法是形成课堂教学管理艺术的基础。现代教学管理观念包括学生是教学主体的观念、教学管理是服务的观念、教学管理创造与维护教学活动的观念等。教师应学会使用自我管理、分组控制、激励等现代管理方法。教学管理艺术形成的内容包括沟通与化解矛盾艺术的形成、表扬与批评艺术的形成等。在形成化解矛盾艺术的过程中。教师应学会使用分析问题。区分矛盾，“制造”矛盾，让学生解决矛盾的能力。为了形成表扬的艺术．教师应掌握表扬的方法，在教学实践中应学会表扬的设计。批评手段的有效使用对教学的顺利进行．学生学习任务的完成有十分重要的意义。掌握批评原则、学会批评设计有利于形成批评艺术。     

Fostering literacy learning in supportive contexts.

Young children with learning disabilities typically encounter difficulty with academic tasks requiring intentional effort and effective use of metacognitive skills--qualities that competent readers and writers possess. In response to these difficulties, special educators often modify literacy instruction, isolating the "basic skills" of literacy (such as decoding and penmanship) from meaningful reading and writing activities. Such instruction contributes to impoverished notions of literacy and exacerbates problems of metacognition. The two research programs reported here challenge the conventional literacy instruction provided to many young students with LD. The programs are rooted in developmental and cognitive theory and research, as well as emergent literacy theory. The social nature of learning is emphasized, with a focus on the role of the teacher, the form of discourse, and the role of text in literacy instruction. Results show that children with learning disabilities benefit from strategy instruction occurring within classroom cultures that support collaborative discourse, the flexible application of comprehension strategies, and appropriate, meaningful opportunities for reading and writing.     

Is It Always Worth the Trip? The contribution of museum and gallery educational programmes to classroom art education

Drawing on observations of classroom art practice and visits to one museum and two galleries and on interviews with teachers and museum and gallery educators, this article examines the interactive relationship between school art education and museum and gallery visits. It studies: the ways primary teachers use such visits for art teaching purposes; and the reasons for the existing limitations in incorporating museum or gallery visits into school art education despite the wide acknowledgement of their educational value. The findings suggest the presence of two models of educational programmes which appear to influence differently the ‘three‐part unit’ of preliminary work, visit to the institution and follow‐up activities in the classroom.     

Mind,Language and Artworks as Real Constraints on Students' Critical Reasoning about Meaning in Art

To engage in discussions of artwork meaning is to engage in critical reasoning, a factor that is central to the interpretation of artworks in the art classroom. While this may appear as a common‐sense claim that reflects the tacit assumptions most art educators have about students' critical dispositions in art, it is also evident that little is known about the deeper structures underlying students’ critical reasoning and how such structures shape students’ interpretations of artworks. Drawing on my research on students’ theories of critical meaning in art, this article explores the nature of practical and theoretical constraints on students’ critical reasoning about the meaning of artworks. I account for how intentional beliefs, language and representational artefacts function as a nexus of real constraints that condition students’ advance into interpretations of the social meaning of art. After briefly outlining the design and methodology of my study, I examine students’ critical reasoning performances during the formative period of development between middle to late childhood. The findings reveal that with increasing age students gradually learn to exercise their own critical intentions and represent inferences that acknowledge the significance of constitutive rules and force of a collective intentionality in the artworld on their interpretations of artworks as artefacts. I then make some conclusions about the relationship of domain‐specific shifts in art understanding, the role of intentionality, representational understanding, beliefs about art and reasoning skills to the linguistic, theoretical and artefactual constraints conditioning students’ intuitive advance into real understandings of art.     

《法律基础》课的教学改革与实践

新形势下，《法律基础》课的教学应进行改革。文章认为，《法律基础》课的法律理论知识可通过强化课堂案例教学及实际操作，来把握其法律精神，使抽象的概念转化为实际的运用，并且将课堂的教学延伸到第二课堂，如参与海南省法律援助中心的活动等。同时，对该课的考试方法也应进行改革。     

An Investigation into Sex Differences in Certain Aspects of Science Practical Work with First‐year Secondary School Pupils in Single Sex and Mixed Teaching Groups

In this study we attempt to evaluate two models of instruction, one based on the assumptions of the constructivist or conceptual change model, and one based on an expositive‐deductive model. We applied the two approaches to the teaching of geometric optics at different levels of instruction: elementary school and university. In each case the same teacher taught the same scientific topic to both the control and experimental groups, and all students carried out the same classroom activities. The study was carried out in such a way as to replicate as closely as possible the actual conditions of each classroom environment. The results of instruction failed to show significant differences in learning attributable to the method of instruction used, although different trends were evident in the two samples. Our commentary on the findings concludes with suggestions for further research in this field.     

关于高中美术鉴赏课学生自主课堂实施策略的研究简

美术新课程改革给高中美术鉴赏课教学带来了新的思考和尝试.以往传统的教学模式已经不能满足学生学习的需要,学生的积极性和学习兴趣在枯燥乏味的课堂中逐渐消失.美术鉴赏课堂迫切需要寻找新的模式和方法来改变这种格局,以重新焕发美术教育所应有的作用和艺术魅力.因此,高中美术鉴赏课对学生自主课堂的尝试,正是新课改下提高学生学习兴趣、充分发挥学生学习主动性的有效方式.     

Assessing and Predicting Small-Group Literacy Instruction in Early Childhood Classrooms

Research Findings: The present study assessed the extent to which early childhood educators utilized small-group literacy instruction and explored factors potentially associated with the use of this evidence-based practice. The classroom activities of 83 early childhood educators were observed in the fall and spring, and videos were coded to calculate time spent in small-group literacy instruction. Educators completed questionnaires indicating classroom adult:child ratios, literacy beliefs, and feelings of self-efficacy. Classroom Assessment Scoring System scores for classroom organization and instructional support measured the quality of classroom management and instructional interactions, respectively. On average, educators provided 11.4 min (SD = 10.6) of small-group literacy instruction a day. It is notable that many educators provided little or no small-group literacy instruction. Negative binomial regression analyses indicated that educators with better classroom management, higher quality instructional interactions, and lower adult:child ratios were more likely to use small-group literacy instruction. Educators’ beliefs and feelings of self-efficacy were not associated with the use of small-group literacy instruction. Practice or Policy: Educators may be better able to provide small-group literacy instruction in contexts affording low adult:child ratios and high levels of classroom management and instructional support, all of which are malleable factors that can be changed via policy or professional development.     

‘Who Thinks this Teaspoon Is Art?’ A Discourse Analysis of Elementary School Students' Negotiation of Meaning During Art Museum Visits

This intrinsic case study examines art museum learning of elementary school students during a week-long visit at the Mackenzie Art Museum. Museums are informative institutions that provide opportunities for visitors to engage with self, others, and society. It is a unique place for visitors to learn beyond classroom settings. This project aims to analyse the discourse around art and understand how young learners utilise discourse as tools to make meaning during art museum visits. By examining learners' dialogues, the research investigated a meaning-making framework that incorporates strategies for negotiating insights in art museums. This study includes approximately 12 hours of video-recorded data and student artefacts. The data suggests learners engage and form new meanings through building and negotiating discourses with peers and museum educators. Different discourses and knowledge are valued and reinforced by members of the group. This study addresses the gap in children's meaning-making during art museum visits, illustrating their strategies to construct knowledge and bridge connections.     

The multiple voices of a mathematics classroom community

Several mathematics educators have expressed their concern about conflicting visions of educational reform among parents and teachers, which could result in the emergence of multiple voices in discussions of achievement and instruction. The aim of this article is to examine the multiple voices of educational reform in the discourse of a third grade classroom community. In order to achieve our aim, we integrated the social and the individual as well as the past, present, and future in our analysis of the discourse in this classroom community using theoretical frameworks and methods from cultural psychology. Although our analyses focused on the classroom teacher, we employed units of analysis capable of bridging the individual and her social context. We began our analysis by focusing on a sample of whole-class discussions of students’ strategies for solving multi-digit word problems. This analysis isolated two distinct voices: one that occurred during discussions of students’ invented strategies and the other that emerged during talk about standard algorithms. We extended our analysis to include information about the historical, social, and institutional context of the classroom community in order to understand the origins and functions of these two voices. This additional information helped us appreciate the interconnections between the teacher’s personal feelings, beliefs, recollections, and expectations; and her interpersonal transactions with her students, their parents, and other educators. We concluded with a discussion of the implications of the study for understanding one of the dilemmas of educational reform and for advancing research in classroom discourse. This revised version was published online in July 2006 with corrections to the Cover Date.     

Supporting Diverse Young Adolescents: Cooperative Grouping in Inclusive Middle-level Settings

The middle level classroom presents unique challenges to educators who strive to provide opportunities that acknowledge learner diversity in terms of social, cognitive, physical, and emotional development. This is confounded even further within inclusive middle-school classrooms where the responsibility to differentiate instruction is even more critical. One way to meet the needs of all students is through cooperative grouping. Through cooperative grouping, middle-level educators can differentiate instruction and promote active learning by leveraging the naturally social nature of young adolescents. In this article, the authors present research on cooperative grouping as well as several considerations for effectively designing and implementing cooperative grouping for middle-level learners in an inclusive setting. Suggestions and examples with regard to group size, membership, group structure and roles, and classroom management and clear expectations are provided. Additionally, the four-clue group strategy is presented as a specific instructional method to support effective group learning experiences in the inclusive middle-level classroom.     

"Tell Us What You Know:" Exploring the Nature of Knowledge About Aesthetic Experience

The role of art museum educators is to facilitate the viewer's aesthetic experience and to support the integration of new concepts into the viewer's pre-existing cognitive structure. Ideally, art museum educators teach viewers how to participate actively in the aesthetic experience. This seemingly straightforward task is difficult to accomplish. The modernist structures of the art world tend to cast the viewer in a passive role. Research into aesthetic experience conducted within Modernist paradigms tends to perpetuate the passive interaction of viewer and artwork. In this paper, I examine the work of researchers and artists who stretch or redefine the modern paradigm of art and identify ways in which active viewer participation can be supported. I propose that researchers of aesthetic experience can no longer approach viewers as subjects for their studies. I demonstrate that viewers are involved in research when their voices are heard in the discourse and they have the opportunity to see themselves reflected in the work of art. Within this new paradigm, viewers and researchers become co-creators of knowledge about aesthetic experience. Knowledge generated in this way enables art museum educators to support active participation in aesthetic experience.     

路翎批判中的组织化批判模式与语体特征

对路翎的批判是建国后文艺批评领域的代表性案例。通过对历史的细致梳理,总结其组织化批判模式的特点与作用,包括阵线的批评、群众性大批判、传媒的牢固控制等,对该案例进行反思,可以看出,这种批判具有断章取义、以偏概全、“宗经征圣”、妖魔化等话语特征。     

Turning Polemics into Pedagogy: Teaching about Censorship in Art Education

In recent decades, the field of art education has seen an increasing interest in issues of social justice and social reconstruction which has led to pre‐service art educators often being encouraged to include potentially controversial topics in their pedagogy. Surprisingly, however, there seems to have been little concurrent discussion concerning the inherent risks involved in introducing polemical themes within the classroom. Indeed, despite its obvious importance, the subject of censorship is often given little attention in art education circles, save for when it has already become an active problem, such as when an instructor is accused of censorship by a student, or when forces outside the classroom seek to involve themselves in pedagogical decisions. In this article, I describe my experience creating and implementing an undergraduate pre‐service art education course on the subject of censorship. I begin by examining my students’ reactions to some of the themes explored, and then explain how discussing cases of art censorship and controversy can serve as a platform for introducing students to the key role that context plays in how we perceive, value and react to artworks. Finally, I make the argument that by including censorship as a subject within their curriculum, teachers can help students better to navigate the psychological, moral and ethical complexities of contemporary art making.     

Investigating the factors that influence higher education instructors’ decisions to adopt a flipped classroom instructional model

The flipped classroom is an instructional model which allows for more advanced learning activities during in-class time while introduces subject knowledge to students prior to class. To address a gap in the recent research regarding higher education instructors’ experiences, perceptions and adoption decisions of the flipped classroom instruction, this study aimed at investigating the critical factors which were predictive of a higher education instructor’s decision to adopt a flipped classroom instructional model through exploratory factor analysis (EFA) and multiple regression in a US university. The results revealed that performance expectancy and technology self-efficacy were significant predictors. Although facilitation condition was significantly correlated with instructors’ adoption decisions, it was not a significant predictor. This study suggests that in order to improve higher education instructors’ adoption decisions of the flipped classroom and other active learning instructional models, it is of priority for institutions to remove the internal barriers to instructors’ adoption decisions of these instructional models, such as improving their performance expectancy and technology self-efficacy.     

Global citizenship education,technology, and being

ABSTRACT

Despite the widespread promotion of the global school, it remains unclear as to how citizenship education (global citizenship education, GCE) is developed. Educational bodies such as UNESCO, Oxfam, and the International Baccalaureate are in the full throws of developing models for GCE yet questions remain as to how such a sweeping notion might take effect. Educational frameworks replete with theoretical, political, pedagogical, and methodological conundrums permeate much global education discourse. Modes of GCE thinking range from post-colonial perspective, critical perspectives, postmodernism as well as an oratory utopianism. This article presents an alternate model of GCE promoting both technology and art as complicit in the exacting of a multifaceted GCE. The balancing of art and technology, as demonstrated, presents an ontological stance that acts as a foundation for the Proto-Global Citizen or ‘Weltburger’. This article aims to support educators seeking a further means of conceptualising GCE embodying diversification while embracing a GCE consciousness. Furthermore, the development of GCE through art and technology creates an opportunity for educators to realign disciplinary focus in light of the increasing incentive for schools to ‘go global’.     

Postmodern Feminisms: Problematic Paradigms

In 1995 Frances Borzello claimed that feminist art criticism had ‘just touched the national curriculum with its fingertips.’ [1] Over the last five years constant challenges to curriculum provision have all but resulted in a loss of contact as educators pull back into ‘safe’ places and away from the edges where feminist art practices were just starting to take hold. Clinging to ‘safe’ practices has meant the affirmation of formalist modernist orthodoxies which have fostered a restricted canonical patriarchal approach to the subject. The recent publication of the ‘Manifesto for Art’ 1999 which calls for a postmodern view of art with an emphasis on ‘difference, plurality and independence of mind’ can, all too easily, be read as a panacea ‘a post modern solution to a postmodern situation.’ [2] However, embracing postmodern pluralism creates as many problems as it solves. Postmodernism often renders any feminist intervention superfluous in spite of new feminist art criticisms’ insistence that the politics of feminism remains a vital element of both artistic practice and critical discourse. While agreeing that art education urgently needs to review its complicity with high Modernist values, we suggest that there are dangers in uncritically accepting a postmodern view of education. Surely postmodernism renders any blueprint for change problematic. This paper does not provide answers, rather it raises questions in order to encourage teachers to reflect upon existing practices with a view to identifying what is still missing and why. It sets out to interrogate implications for pedagogy, educational policy and social transformation of the contemporary academic preoccupation with postmodernism.     

“We don't want your opinion”: Knowledge Construction and the Discourse of Opinion in the Equity Classroom

As educators who teach courses that examine social power, we often struggle with a specific form of resistance in the equity-oriented classroom: “That's just [the author]'s opinion.” This “opinion discourse” emerges when students study scholarship that unsettles dominant knowledge claims and methods or when students are themselves asked to situate their knowledge. The opinion discourse could easily be read as simply an example of the lack of critical thinking skills among students. However, we believe that opinion discourse is more than a facile response to new ideas. We want to take opinion discourse seriously. We argue that opinion functions as a discursive project of resistance in the context of the equity-oriented classroom by solidifying inequitable power relations between the knower and that which is known. Our goals are twofold: to explicate how the opinion discourse functions as a specific legitimization of existing power relations and to unsettle the discursive authority that opinion offers.