马克思主义中国化的历史进程及理论创新

马克思主义中国化的历史进程及理论创新经历了四个阶段:第一阶段是毛泽东时期,这一时期的理论创新是产生了毛泽东思想.第二个阶段是邓小平时期,这一时期的理论创新是产生了邓小平理论.第三个阶段是江泽民时期,这一时期的理论创新是产生了"三个代表"重要思想.第四个阶段是胡锦涛时期,这一时期的理论创新是中国特色社会主义理论体系的提出.     

浅议党要以与时俱进态度对待理论创新

与时俱进是理论创新的前提,实践是理论创新的源泉,不断开拓马克思主义理论发展的新境界是理论创新的关键.     

理性地认识和解决理论创新问题

理论创新是新形势、新任务、新历史使命决定的.它既是一个社会性命题,也是一个时代性命题,应把握住当代中国理论创新的视野,处理好指导思想方面的理论创新和具体层面的理论创新的关系.     

论坚持马克思主义基本原理与推进理论创新

中国共产党人在运用马克思主义指导中国革命、建设和改革的漫长过程中,始终存在着既要坚持马克思主义又要创新马克思主义的重大理论和实践的关系问题.我们党深刻认识并成功践行坚持与创新的辨证关系,发展创新马克思主义是真正坚持马克思主义.推进理论创新,必须明确理论创新的必然性,必须坚持党的群众路线,必须把握好独立自主的根本立足点.必须明确理论创新的根本目的是指导实践,根本方法是理论与实际相结合.     

关于马克思主义理论创新研究的几点新认识

马克思主义理论创新问题的研究,是一项重要和严肃的工作,需要坚持科学的态度,做长期的和深入的艰苦努力.深入马克思主义理论创新研究是实践的需要;马克思主义理论创新研究需要正确认识和把握理论创新与社会实践的关系,坚持与发展、继承与创新的关系;要注重研究马克思主义理论创新的表现形式问题;马克思主义理论创新研究的重点:一是围绕马克思主义中国化这一主题,开展对马克思主义理论创新问题的研究,重点放在对当代中国马克思主义即中国特色社会主义理论体系之理论创新问题、包括哲学创新问题的研究上,二是坚持理论联系实际的指导思想和原则,要深入研究一些理论战线上普遍关注的深层次理论问题和认识问题;要重视马克思主义理论创新与理论武装的跟进工作.     

谁是社会创新理论第一人——社会创新概念探源

社会创新是当前国内行政学、管理学等领域的一个前沿理论问题.当代著名管理学家彼得·德鲁克在1973年首次提出和使用“社会创新”(social innovation)这一概念,并在随后的著述中较为深入地阐述了这一问题,可以认为是社会创新理论的第一人.后来,沃尔夫冈·查普夫、杰夫·摩根、詹姆斯·菲尔斯从不同学科和视角系统阐发社会创新问题,构建了当代社会创新理论的基本框架.社会创新正在成为当代创新理论的前沿问题和创新创业实践的新领域,有必要加强对这一重要问题的理论研究.     

关于马克思主义理论创新的几点思考

理论是实践的先导,对于马克思主义理论创新,需要正确把握好几个基本观点:一是马克思主义理论创新必须坚持马克思主义基本原理,这是理论创新的前提;二是马克思主义理论创新的动力和源泉就是最广大人民改造世界、创造幸福生活的伟大实践;三是马克思主义理论创新的目的就是为了实现最广大人民的根本利益,其途径是理论与实践相结合.     

坚持在军队基层普及党的创新理论

十六大以来形成的党的创新理论成果是当代中国的马克思主义.坚持用马克思主义中国化最新成果武装官兵,是我军的优良传统和政治优势.当前我们要大力推进党的创新理论在军队基层的普及,坚决反对形式主义,坚持真学真用、弄懂悟透;建立理论武装的长效机制,使学习普及党的创新理论常态化;积极探索理论武装的特点规律,继续推进党的创新理论大众化;理论联系实际,坚持在实践中推进理论武装;坚持活学活用,充分发挥创新理论指导实践的优势.努力把我军的理论武装工作推上一个新台阶.     

论教育创新的内涵与内容

创新与教育的关系可以从两个基点进行考察和审视,一是创新的基点,表征为创新教育,二是教育的基点,表征为教育创新.教育创新是以创新为旨趣,借助教育中介创新,融合教育理论创新与教育实践创新,实现教育最优化的过程.教育创新的内容包括三个方面:教育理论创新、教育实践创新、教育中介创新.     

关于教学理论创新的思考

当代教学理论是一个需要关注、亟待研究的学科建设领域.文章着重从教学理论创新概念、教学理论创新特征和教学理论创新功能等三个方面进行了简要的论述,并为学校教学理论的发展提供思路.     

Theoretical and pedagogical perspectives on orchestrating creativity and collaborative learning

The role of teacher is increasingly related to designing and arranging collaborative learning situations in which fruitful and creative group work may occur. This thematic review presents recent studies on creativity and collaborative learning from the perspective of the teacher as conductor of learning processes. The precondition for the design and orchestration of these kinds of learning situations is analysing and understanding of creative and collaborative processes and their contextual adaption. Thus, the first section of this review focuses on the theoretical vantage points of creativity and collaborative learning mainly from socio-cultural perspective. Based on this theoretical grounding, the second section describes principles for orchestrating productive collaborative learning and supporting creativity from the teacher’s perspective. We discuss three dimensions related to how teachers can bring about collaborative learning and creativity: (1) general pedagogical bases, (2) teachers’ pre- and real-time activities and (3) opportunities and challenges for teacher activities. The review is concluded with theoretical and practical implications regarding collaborative learning and creativity.     

Creative tensions? Creativity and basic skills in recent educational policy

Recently, in response to sustained criticism about the standards driven curriculum, UK government agencies have been promoting creativity in schools. In this article we explore how creativity is being defined in current national educational policy statements; how these definitions relate to other theoretical work on creativity, and the implications for the curriculum and pedagogies.     

A theoretical framework for integrating creativity development into curriculum: the case of a Korean engineering school

Existing approaches to developing creativity rely on the sporadic teaching of creative thinking techniques or the engagement of learners in a creativity-promoting environment. Such methods cannot develop students’ creativity as fully as a multilateral approach that integrates creativity throughout a curriculum. The purpose of this study was to formulate a theoretical framework for a curriculum that fosters creativity. Based on the analysis of documents from accreditation organizations and engineering programs, the researchers synthesized the essential abilities and knowledge of creative engineers and formulated an initial theoretical framework for an engineering curriculum designed to integrate creativity development. To validate this initial framework, in-depth faculty interviews were conducted. The results pointed to an optimal curriculum containing four course groups centered on design, domain knowledge, interdisciplinary knowledge, and creative leadership. In addition, the findings revealed an optimal structure and sequence for the courses by grade level. The discussion includes implications of the resulting framework, along with contextual and institutional issues and recommendations for future study.     

AN INTERVIEW WITH KIMMO LEHTONEN

In this interview, Dr. Kimmo Lehtonen discusses the current “state of the art” regarding creativity in Scandinavia, Europe, and around the world. He explores the training of teachers, prodigies, and art and music therapy. Dr. Lehtonen examines the issue of computers relative to creativity and various theoretical explanations for the phenomenon of creativity. Personality factors are examined and explored, and future concerns are delineated.     

Educational Guidance‐‐Technical Education: STUDENT GUIDANCE IN TECHNICAL EDUCATION

It is contended that present assumptions regarding the relationship of creativity to curriculum structure are inadequately supported by both experimental findings and theoretical rationale. There are two main issues requiring further elucidation: the first concerns the influence of school environment on creativity directly: the second comprises an examination of the interrelationships of creativity, intelligence and curriculum structure.

The evidence presented demonstrates that school environments have a perceptible influence upon creativity but the generally held assumption that progressive environments are more favourable is shown to require careful qualification.The findings also suggest that the interrelationships of creativity, intelligence and curriculum structure are highly complex. Structure does not seem to affect creativity‐intelligence correlations to any great extent: the major influences here would appear to be largely dependent upon the average intelligence of the groups and the extent to which the creativity tasks require school learning and especially verbal skills for their performance.     

Advancing the case for creativity through graduate business education

We describe an MBA course focusing on creativity and innovation in organizations. Drawing on the creativity literature and experiential learning theory, the theoretical foundations of the course are discussed. Core aspects of the course include reading articles from academic journals and business periodicals, engaging a wide variety of experiential activities, keeping a personal journal, and completing two individual projects. We sought to understand the effect of the course on students’ perceptions of the importance of creativity for organizations, their own creativity and self-perceptions of creativity, as well as their perceptions of the utility of journaling. Data were collected at the beginning and end of the course to examine these issues. The results suggest that the course had a positive influence in each case. These results are discussed and thoughts for future research are provided.     

A Pedagogical Strategy for Gradual Enhancement of Creative Performance of the Students

The objective of this paper is to describe a pedagogical strategy for gradual enhancement of creative performance among students by using interdisciplinary hands-on projects. A study was conducted comparing 66 students' performances on creativity in three classes—Fall 1996, Spring 1997 and Fall 1997—consisting of juniors and seniors at Temple University. All the students were tested on the creative opportunities actually taught by the projects presented to the students, theoretical aspects of creativity on a specially designed test and the learning process. The results of evaluation on the creativity of the models, the theory tests and the learning process indicated that the pedagogical strategy did help in gradually enhancing the creativity performance of the students.     

研究生创新能力特征及与人格、思维认知的关系

为了解研究生创新能力及与人格、思维的关系,论文以《硕士研究生创新能力调查问卷》《艾森克人格问卷简式量表中国版》《学生认知风格问卷》为工具,抽取贵州省、陕西省两地520名硕士生.结果发现,硕士生创新能力总体处于中等及以上水平,人格特质均高于国内常模,思维认知得分均显著高于理论中值.男女生在创新思维能力和学术创新能力存在显著差异.不同学科的研究生在学术创新能力方面有显著差异.除知识结构,陕西省与贵州省的研究生创新能力得分均有显著差异.创新能力、人格与思维认知之间存在一定的关联,神经质、内外倾,言语表象、直觉-分析、思维内外倾是影响创新能力的主要因素.     

构建中国共产党民主能力体系

中国共产党民主能力主要包括民主执政能力、民主理论创新能力、整合与塑造政治合法性的能力、用民主的方式化解风险的能力。民主执政能力是核心,其理论创新能力是基础,其整合与塑造合法性能力是主要标志,用民主的方式化解风险的能力是执政水平提高的重要表现。这四个方面互相促进,相辅相成。     

培养学生创新能力的教学模式设计——《政治学原理》课堂教学与实践教学相结合的探索

思想政治教育专业的《政治学原理》课程是一门理论性较强的课程，在该课程教学的过程中，如何培养学生的创新能力和实践能力，是该课程教学的主要目的和任务。在教学中，坚持以培养学生创新为中心，让学生主动建构知识体系为目标，激发动机、问题情景、实践参与、评价激励为策略，使教学双方在创新源泉、步骤、动力、思维、能力、意识等多方面互动互长，把创新真正落实到教学工作的每个环节之中。