现代主体诗学的清理与当代客体诗学的开启

毛泽东《在延安文艺座谈会上的讲话》奠定了新时期以前当代诗学的基本格局,即对五四以来主体诗学的清理与当代客体诗学的开启。诗人情感与表达方式的清理是核心,艾青与何其芳是典型的例证,"何其芳现象"是这种转变的标志。《讲话》以后,诗歌转为新诗人的农民内容与民歌形式的民歌体新诗,民歌体叙事诗成为客体诗学开启的标志,构成当代诗学模式。     

Mushrooms and the Cycle of Life: integrating literature and biology in secondary teacher education

Can two apparently totally different secondary school subjects join forces in an attempt to enrich the learning processes of both? The authors address this question by describing an experimental lesson in which student‐teachers verbalize their preconceptions concerning a natural object (mushrooms) while in the same lesson they do a personal response activity for a poem by Sylvia Plath entitled ‘Mushrooms’. The results indicate that student teachers of different disciplines find this to be a meaningful teaching approach. It proved to be a motivating way to evoke preconceptions about a natural phenomenon by means of a poem and resulted in an enhanced awareness of mushrooms, which culminated in questions on both their growth and reproduction. Moreover, their ‘literary’ interest in the poem and the writer appeared to be stimulated. Possible applications in teaching and teacher training are discussed.     

Of All Studies,Study Your Present Condition: Essay Review of Denis Dutton's The Art Instinct: Beauty,Pleasure, and Human Evolution (Oxford: Oxford University Press, 2009)

In this review I will assess the validity of Denis Dutton's provocative argument for Darwinian aesthetics. In The Art Instinct Dutton draws on the insights of Darwin and the evolutionary psychologists Geoffrey Miller and Steven Pinker to analyse art as the product of evolution. Pinker asserts on the dust cover that ‘this book marks out the future of the humanities – connecting aesthetics and criticism to an understanding of human nature from the cognitive and biological sciences' and that ‘Dutton has made a bold and original contribution to this exciting new field’. Miller's opinion of The Art Instinct is noticeable by its absence. In his review of The Art Instinct, arts academic Richard Hickman concludes: ‘for educators, if we accept that young people have an “art instinct”, then it is incumbent upon us to ensure that this instinct is nurtured and developed’. I agree. My aim is to critically assess Dutton's contribution and speculate about how it might inform future directions in educational research.     

Stereotypes in cyberspace: writing an anti-racist website

This article deals with some of the difficulties and dilemmas of writing and producing an educational website about ‘race’ and racism (www.britkid.org). With a ‘cast’ of fictionalized characters exploring a wide range of issues relating to racism in the UK, the site is arguably closer to being a mass media product than conventional school materials, and the white, male author had to negotiate complex dilemmas about stereotyping and representation in both the initial drafts and in responding to prepublication feedback. These are explored, together with some reflections upon the relationship between research and a ‘product’ such as this.     

论元代乐府诗的入乐问题

元代的乐府诗,无论是旧题乐府还是新题乐府,大都是可以配乐而唱的。在＂乐府音节,自宋已失其传,生今之世,无复能辨之者＂的文化背景下,元代乐府诗所具有的这一特点,成为了乐府诗史上的一个奇迹。元代乐府诗所配唱之乐,主要是诗人们（含坊间乐工）创制的＂今曲＂。因而,＂今之曲歌于古,犹古之曲也,古之词歌于今,犹今之词也＂,就成为了当时诗人们的共识。在这种乐府观念的指导下,元代诗人们无论是于乐府诗还是古诗,大都称之为＂歌＂,即认为其都是可配乐而唱的。于是,元代乐府诗可入乐而歌的现实,与盛行于当时的散曲、杂剧、词体艺术等互相融合,从而构建了中国文学史上的第一个＂音乐文学王国＂。     

Carl Linnaeus,Erasmus Darwin and Anna Seward: Botanical Poetry and Female Education

This article will explore the intersection between ‘literature’ and ‘science’ in one key area, the botanical poem with scientific notes. It reveals significant aspects of the way knowledge was gendered in the Enlightenment, which is relevant to the present-day education of girls in science. It aims to illustrate how members of the Lichfield Botanical Society (headed by Erasmus Darwin) became implicated in debates around the education of women in Linnaean botany. The Society’s translations from Linnaeus inspired a new genre of women’s educational writing, the botanical poem with scientific notes, which emerged at this time. It focuses in particular on a poem by Anna Seward and argues that significant problems regarding the representation of the Linnaean sexual system of botany are found in such works and that women in the culture of botany struggled to give voice to a subject which was judged improper for female education. The story of this unique poem and the surrounding controversies can teach us much about how gender impacted upon women’s scientific writing in eighteenth century Britain, and how it shaped the language and terminology of botany in works for female education. In particular, it demonstrates how the sexuality of plants uncovered by Linnaeus is a paradigmatic illustration of how societal forces can simultaneously both constrict and stimulate women’s involvement in science. Despite the vast changes to women’s access in scientific knowledge of the present day, this ‘fair sexing’ of botany illustrates the struggle that women have undergone to give voice to their botanical knowledge.     

Participation,Perplexity and Plurality: Exploring the Shared Reading of a ‘Difficult’ Poem

ABSTRACT

In this article, we explore how adults in a community shared reading group discuss the notoriously difficult poem ‘The Emperor of Ice-Cream’ by the American poet Wallace Stevens. Drawing on Hannah Arendt’s notion of action, we explore how participants negotiate the poem, actively constructing meanings from their shared personal experiences rather than simply reading off meanings contained in and bounded by the poem, a text which continues to be divisively contested by literary ‘experts’. In enabling them to act collectively in such a purposive and immersive fashion, shared reading, we suggest, constitutes a public space where participants experience the plurality that Arendt argues is central to the human condition. At a time when tolerance of difference has been compromised by divisive politics, a focus on the collaborative aspect of shared reading contributes to a greater understanding of the role it can play in supporting inclusive, participatory arts practices in communities.     

‘Being’ a critical multicultural pedagogue in the art education classroom

Art educators continuously struggle to understand what multiculturalism ‘looks like’ in the art classroom. This has resulted in multicultural art education becoming superficial, in which art teachers guide students through art projects like creating African masks, Native American dream catchers, Aboriginal totems, and sand paintings, all without communicating the context of the art. This type of multiculturalism essentializes cultures, and builds Western, myopic narratives about groups of people, specifically about their ‘Art’. Critical multiculturalism is a power-focused upgrade of multiculturalism that calls for a critique of power and demands recognition that racism and other discriminations are enmeshed in the fabric of our social order. Teaching through a critical multiculturalism framework helps teachers dismantle Western, normalized narratives and produce counter-hegemonic curriculum that contextualizes culture and reveals its fluidity. In this article, the author shares a teacher action research study in which she describes what critical multiculturalism looks like in her art education classroom. The study focuses on ‘being’ a critically multicultural educator versus ‘doing’ critical multiculturalism. Such a position counters the idea that critical multiculturalism is a thing to complete, but instead is an ongoing process that rests on specific ways of thinking and considering the classroom, curriculum, and students.     

What is a Significant Educational Experience?

This article analyses the nature of an educational experience by taking as its starting point Dewey's Art as Experience in order to identify what it is that counts as a significant or worthwhile experience. Dewey suggests that an experience needs to have an integral character in which the different phases of the experience are related and which tends towards a conclusion. Furthermore, an experience also needs to have the character of what Dewey calls an ‘undergoing’, an engagement with content which may be difficult or painful. It is suggested that this kind of experience may be seen in terms of a ‘light’ pedagogy in which content is allowed to unfold. This is contrasted with educational experiences that are ‘teacher‐driven’ or ‘learner‐driven’.     

从"影响的焦虑"到"批评的焦虑"——《黄鹤楼》《凤凰台》接受史比较研究

崔颢的《黄鹤楼》是精美绝伦而又通俗易诵的唐诗经典之一。《黄鹤楼》传诵之初,李白登斯楼尝有"眼前有景道不得,崔颢题诗在上头"之叹。一首《黄鹤楼》竟让绝代诗仙称首,实在是一个奇迹。于是唐代以来的接受者围绕《黄鹤楼》及其影响,展开了热烈争论。一部《黄鹤楼》的接受史也因此可以一分为三:一是由《黄鹤楼》的影响史引发的"影响的焦虑";二是"崔颢体"的提出及美学阐释;三是崔李"优劣论"中表现的"批评的焦虑"。从"影响的焦虑"到"批评的焦虑",是《黄鹤楼》和《凤凰台》接受史最显著的特点,也是文学经典接受史中较普遍的现象。     

Anxiety of performativity and anxiety of performance: self-evaluation as bad faith

ABSTRACT

Self-evaluation, a devolved, rigorous form of teacher inspection, has increasingly been promoted in educational circles as a way to balance both teacher autonomy and accountability. Such balancing acts help to alleviate anxiety around inspection, for the teacher who would otherwise face a visit from an inspector, and for the public who are concerned about self-evaluation being less objective. Using the Irish policy of self-evaluation, this paper will first explore the evidence-based approaches and the appropriation of a ‘language of evaluation’ that are inherent to so-called low-stakes accountability systems. In part, such mechanisms are used in order to alleviate anxiety. The anxiety that self-evaluation focuses on, however, corresponds only to aspects of teaching that are conducive to measurement, and therefore refers solely to what may be called an anxiety of performativity. Furthermore, its attempts to repress an anxiety of performativity ironically fails to acknowledge a more fundamental form of anxiety that teaching as a ‘performance’ involves. Using Sartre’s idea of ‘bad faith’, this paper will ultimately argue that teaching inevitably involves an element of anxiety that should not be repressed but rather should be lived and worked with well, something which self-evaluation in its current form fails to capture.     

Crossing ‘other cultures’? Reading Tatamkhulu Afrika's ‘Nothing's Changed’ in the NEAB Anthology

In 1998 the Northern Examination and Assessment Board selected the poem ‘Nothing's Changed’ by the South African writer Tatamkhulu Afrika as the last of its ten Poems from Other Cultures and Traditions. Published in the NEAB Anthology (1998), ‘Nothing's Changed’ became a favourite at GCSE for its vivid depiction of apartheid and its effects. This article revisits Tatamkhulu Afrika's poem, situating it in the context of educational policy, the creation of the NEAB Anthology, the poem's initial use by Devon Curriculum Services in the 1990s, and its emergence as an object of national study in Britain. It examines how the poem was read under the conditions of its anthologisation and the pressures of examination, highlighting how specific reading practices typically stumbled on the problems of history, cultural representativeness, and literature's capacity to offer a transparent window onto experience.     

Key Skills Enhancement for Students,Artists and Designers through Residencies in Education

In September 1999, the Glasgow School of Art ‘Artists and Designers in Education’ programme was accepted as an important component of the GOALS project, an ACCESS initiative funded by the Scottish Higher Education Funding Council including students in schools as project leaders, tutors and mentors. This stable and long-term funding validates and ensures the future of an experimental key skills programme which has been carefully nurtured in Glasgow School of Art for the past ten years, often in the face of scepticism, voiced by those for whom higher education and especially higher art and design education is ‘only about engaging with, becoming expert in and in due course advancing the discipline itself’. [1]This paper suggests that key skills enhancement through supported and evaluated residencies in education is of demonstrable value to most emergent artists and designers regardless of their subsequent career trajectories.     

Encouraging student engagement in a blended learning environment: the use of contemporary learning spaces

Research shows that some non‐traditional students find the university environment alienating, impersonal and unsupportive. The ‘Quickstart’ project combines traditional lectures and seminars with a sequence of carefully designed online tasks, aimed at lessening the impact of the start of year uncertainties for new students. One thousand students across two geographic locations participated in the programme. The project was evaluated by considering three sources of data: data generated by server statistics of 40,358 successful requests for pages in the first four weeks of teaching; student anonymous responses to an online end of course questionnaire as well as extracts from their reflective journals; and the student experience as viewed through the eyes of a researcher in the classroom. Findings offer insights into how the students blend classroom time with their own time; and student perceptions of their own learning experiences. A collaborative learning experience involving travel to a contemporary learning space (the Tate Modern Art Gallery) mitigated the possible isolating effect of the use of technology; instead the technology enhanced the discussion and participation in activities. The students visited the Tate Modern and then facilitated their discussions by sending each other SMS text messages; they bonded very quickly in the seminar groups, where weekly online tasks that had been prepared individually ‘outside’ the classroom were the focus of group discussion and debate ‘inside the classroom’; their end of semester reflective writing showed very clearly how valuable the early ‘friendship’ groups had been for them settling into university life.     

Mathematics anxiety of some pre-service primary school teachers

The construct ‘mathematics anxiety’ is explored with a sample of first year primary education university students. Self reported measures of anxiety about needing to use mathematics, and anxiety about the prospect of teaching mathematics, are moderately and positively correlated. The factor structure of a set of 13 items related to ‘mathematics anxiety’ is consistent with previous studies and the associations of these factors to other, related measures are explored using multiple linear regression of the factor scores. It is argued that it is likely to be more valuable to investigate ‘mathematics anxiety’ in terms of its composite factors than as a single phenomenon. Directions for future investigations are indicated.     

Researching academic stress and anxiety in students: some methodological considerations

Despite a long history of interest in North American and Western European literature, researchers in the UK are only now beginning to turn attention to the issue of academic stress in schoolchildren and how it may affect emotional well‐being, health and performance on school assessments. Based on the author's experiences of designing an extensive research project, this article explores the conceptual and methodological difficulties encountered when designing and conducting research in this area. First, there is a lack of precision in terminology used. The terms ‘stress’, ‘anxiety’ and ‘worry’ are used interchangeably in the literature as if they referred to the same phenomenon, and the domains of ‘examination stress’ and ‘academic stress’ are not clearly defined. As a consequence, it is not clear exactly what phenomenon the literature is actually referring to. Second, it is not always clear in the literature what the term ‘stress’ is referring to. In some cases, it is being used to refer to the properties of a stimulus (e.g. an examination) and in other cases to the subjective experience of distress. Assuming a subjective experience of distress will necessarily follow from a particular stimulus is problematic as it fails to account for the interpretation of that stimulus to the student involved. The much ignored construct of test anxiety may offer some advantages to the researcher by having a clearly defined domain and referent. Third, there is an overwhelming bias in the research towards quantification and ways of ‘measuring’ stress and anxiety in students. The usefulness of this approach is considered along with the potential advantages of alternative approaches.     

The processes and parameters of Fine Art PhD examination

The merger of art schools into academic institutions and the consequent proliferation of higher degree courses in the visual arts has created pressure for these courses to justify that their research content ‘measures up’ to more traditional research practices.This study aimed to identify the parameters for PhD examination and research practices in the field of Fine Art through interviews with Fine Art examiners as well as an analysis of written PhD examination reports. A comparison of PhD examination reports across disciplines revealed that there were similarities as well as some significant differences between the type of feedback provided by Fine Art examiners and feedback by examiners from other disciplines. Interviews with 15 Fine Art examiners from 11 Australian institutions provided information about the expectations, standards and models of evaluation in the Fine Art field as well as how examiners perceive their role and what constraints are evident in current examination processes.     

Vygotsky’s ‘Thought and Word’

The last chapter of Vygotsky’s last book, Thinking and Speech, is a compressed argument about the construction of consciousness through the internalisation of language. This article comments on Vygotsky’s analysis of the ‘voyage into the interior’ undertaken by oral speech as it is internalised and abbreviated into ‘inner speech’, and then further concentrated as non-verbal thought. The article focuses on the part that literature and especially poetry play in Vygotsky’s argument in this chapter, and suggests that in exploring the condensed semantics of inner speech Vygotsky is implicitly describing how poets turn private thoughts into ‘symbols for others’. It concludes with a commentary on Vygotsky’s use of Mandelshtam’s poem ‘The Swallow’, from which he draws his epigraph.     

Translocal assemblage and the practice of alternative media toward racial justice: a pedagogical perspective

There is a growing cultural and social movement among youth who draw on spoken word poetry and documentary style videos to participate in the new media landscape. Many multimedia poems have appeared on social media sites such as YouTube and Vimeo as a form of participatory politics. In this article, the author takes up a discussion of translocal practices and ‘translocal assemblage’ wherein individuals and groups engage in the exchange of ideas across space and time. One example is a multimedia poem about the underrepresentation and invisibility of racialized minority students at a major American university. This viral multimedia poem remixed elsewhere based on students’ experiences at another university demonstrates not only the potential of translocal assemblage in participatory politics but also the practice of alternative media in the movement toward racial justice. That is, young people are finding civic resources and building on each other’s work to challenge the social order. Pedagogically, the author built on the theoretical underpinning of translocal assemblage to shape work with students in the college classroom who, in turn, produced other genres of alternative media. The resultant video documentaries about locally unjust social arrangements make evident the subtle nature of cultural flows that have direct consequences for critical studies in education.     

When a “sloppy copy” is good enough: Results of a state writing assessment

Students in grades 5 and 8 completed a state writing assessment, and their first and final drafts on the extended writing portion of the test were copied and scored using the state writing rubric. The rubric consisted of three primary traits: Content and Organization, Style and Fluency, and Language Use. Scorers were blind to the study purpose and scored either a student's first or final draft. No significant difference was found between the first and final drafts written by students in special education at both grade levels. Likewise, no significant difference was found for the writing of general education students in grade 8. A significant difference was found, however, between first and final drafts written by fifth-grade students in general education. Cross tabulations conducted at grades 5 and 8 revealed that over 50% of the first drafts received the same score or a better score than what was earned on the final draft.