Art,anatomy, and medicine: Is there a place for art in medical education?

For many years art, anatomy and medicine have shared a close relationship, as demonstrated by Leonardo da Vinci's anatomical drawings and Andreas Vesalius' groundbreaking illustrated anatomical textbook from the 16th century. However, in the modern day, can art truly play an important role in medical education? Studies have suggested that art can be utilized to teach observational skills in medical students, a skill that is integral to patient examination but seldom taught directly within medical curricula. This article is a subjective survey that evaluates a student selected component (SSC) that explored the uses of art in medicine and investigates student perception on the relationship between the two. It also investigates whether these medical students believe that art can play a role in medical education, and more specifically whether analyzing art can play a role in developing observational skills in clinicians. An “Art in Medicine” 8‐week course was delivered to first year medical students at Brighton and Sussex Medical School. The use of art to improve observational skills was a core theme throughout. Feedback from the students suggests that they believe a strong association between art and medicine exists. It also showed a strong perception that art could play a role in medical education, and more specifically through analyzing art to positively develop clinical observational skills. The results of this subjective study, together with those from research from elsewhere, suggest that an art‐based approach to teaching observational skills may be worth serious consideration for inclusion in medical and other healthcare curricula. Anat Sci Educ 7: 370–378. © 2014 American Association of Anatomists.     

《静静的顿河》修辞心理探析

《静静的顿河》作为一部优美的学作品，它的语言风格和艺术特色的形成离不开比喻修辞的广泛运用。比喻作为一种重要的修辞方法，受到创作主体的审关心理、地域化心理、通感思维等几方面的制约。通过对作品中具有一定稳定性的修辞心理的研究，可以为作家存在争议的本之间寻找风格一致性的依据。     

Experimenting with Visual Storytelling in Students' Portfolios: Narratives of Visual Pedagogy for Pre‐Service Teacher Education

This article interprets the repercussions of visual storytelling for art education and arts‐based narrative research and, particularly, it approaches visual storytelling as a critical tool for pre‐service teacher education. After reinterpreting storytelling from the perspective of visual critical pedagogy, I will narratively reconstruct the use of visual storytelling in three learning stories taking the form of students' portfolios. As a visual narrative researcher, I will examine the tactics for writing and reading that these students have developed in creating visual stories: the first narrative analyses the role of art during the reconstruction of the learning process by incorporating autobiography and reflexivity (Tanit's portfolio); the second narrative reflects on deconstruction and intertextuality in a multimedia portfolio, which mainly interrelates opera and cinema (Eulàlia's portfolio); and the third narrative introduces virtual storytelling and connects self‐awareness/meta‐awareness with multi‐literacy in narrative learning (Sonia's portfolios). This article also views improvisations, attempts, drafts and interactions in the process of writing and reading portfolios as part of visual experimentation to fabricate learning stories, in order to analyse the opportunities that visual storytelling offers for visual narrative pedagogy.     

诗化而奇幻凄艳的人性悲歌--论冯至早期的叙事诗

冯至早期的叙事诗有相当高的艺术成就，由于它们运用传统的神话传说作为题材，虽然没有及时表现社会的现实生活，却表现了至深至真的人性。同时，冯至在吸取西方文化与民族文化的过程中，把自我孤独与苦闷融入诗歌的艺术形式，用叙事诗的表现技巧，展现他对于人性的感伤。     

叙事的空白——评《白狗秋千岛窃的叙事策略

《白狗秋千架》被学者称为“当代文学史上,不可多得的的作品”,很大程度上归功于其独特的叙述艺术,它颠覆了传统以情节为主的模式框架,在环境的营造、人物的刻画以及故事情节的编排上,有意留下众多空白,以无声传递无限的意蕴,带给读者言有尽,意无穷的阅读体验。     

The Early Construction of Spatial Attention: Culture,Space, and Gesture in Parent–Child Interactions

American and Israeli toddler–caregiver dyads (mean age of toddler = 26 months) were presented with naturalistic tasks in which they must watch a short video (N = 97) or concoct a visual story together (N = 66). English‐speaking American caregivers were more likely to use left to right spatial structuring than right to left, especially for well‐ordered letters and numbers. Hebrew‐speaking Israeli parents were more likely than Americans to use right to left spatial structuring, especially for letters. When constructing a pictorial narrative for their children, Americans were more likely to place pictures from left to right than Israelis. These spatial structure biases exhibited by caregivers are a potential route for the development of spatial biases in early childhood, before children have developed automatic reading and writing habits.     

Student use of narrative and paradigmatic forms of talk in elementary science conversations

The purpose of this work was to examine and characterize student use of narrative and paradigmatic expression in elementary science discourse. This interpretive study occurred over a 2‐year period in a professional development school with a largely international population. This analysis focused on the narrative and paradigmatic modes of expression used by combined first–second‐ and second‐grade students in a semistructured, fairly autonomous, whole‐class conversational format. Students demonstrated competence with both modes of talk at the beginning of the year. Over time, students moved toward more paradigmatic talk, but narrative examples continued to be key components of the science conversations. Topically, students used narrative more often for life sciences and paradigmatic talk for physical sciences. For gender there were no qualitative differences in narrative or paradigmatic expression. However, boys obtained more opportunities to practice their use of both discourse forms by either receiving more speaking turns or expressing more language features per turn. These conversations show that narrative and paradigmatic modes in science need not be in opposition but can, in fact, be used together in complementary ways that are mutually enhancing. © 2002 Wiley Periodicals, Inc. J Res Sci Teach 39: 793–818, 2002     

畲族神话《高皇歌》中的动画创作元素探析

民族题材的动画化探索是文化产业创新的重要途径。《高皇歌》作为畲族的创世神话诗歌,历代传承人保留并丰富了其先祖的故事,内容中蕴含着剧作、角色造型、视听、美术等诸多动画创作元素。其叙事主线与“英雄之旅”叙事模型有较高的契合度,通过融合性的构思改编,可创造出承载民族精神又符合新时代美学特征的动画作品,更鲜活的保存与传递民族文化。     

婚姻规则的神话确证——对云南少数民族中两则神话的比较研究

许多民族中存在相同或相似的神话主题.文章尝试把景颇族神话<女人为什么兴嫁给男人>与彝族神话<搓日阿补征服女儿国>进行比较.一方面,两则神话的主题和功能是相同的,它们都强调了现状的合理性从而维护了氏族社会内部的稳定;另一方面,两则神话的结构不一致,内容和叙事深度也有所不同.神话不能当作信使,但是,它却反映出人们对事物的认识和理解,并在群体内部起着一定的作用.     

Development of Art Appreciation in 11–14 year‐old Students

Modern art curricula derive from the assumption that visual arts education can be of a high quality only if productive and receptive artistic activities are implemented. In art education practice, we are able to follow incentives for artistic expression but pay less attention to developing art appreciation that is based on developing as subtle perceptions of artwork as possible. Students have few opportunities to observe, enjoy and understand artwork. This discussion presents the results of a study that monitored the development of art appreciation abilities of 11–14 year‐old students in Slovenian compulsory education. The level of art appreciation abilities is rather average and more developed with older students and girls. There were no statistically significant differences with regard to school stratum.     

‘In Quest of Narrative’: A Teacher’s Furore and Textual Returns

This paper explores a teacher’s furore? my own ? by asking how such furores might be considered ‘in quest of narrative’. If so, which one? The answer, I suggest, lies in revisiting the source texts for such a furore, allowing the texts to illuminate the curricula and teaching, rather than the reverse. In so doing, the ethical claim of the texts in which such a furore originates might be recovered, in order to clarify one’s implication in webs of violence. Interspersed with an exploration of Katabatic narratives and curricula ? the vehicle for my furore to teach about violence ? are three narrative vignettes that emerged from revisiting the texts that inspired my teaching.     

How Drawing is Taught in Chinese Infant Schools

The benefits of drawing for children are wide‐ranging but are likely to be mediated by the art curriculum and other governmental guidance to teachers relevant to drawing/art. Furthermore, such statutory regulations vary between cultures, and therefore curricula represent an important influence on the cultural differences found in children's drawings. Previous articles on the teaching of drawing in Chinese schools have commented upon the emphasis placed on children copying from adult drawing models. However, a new art curriculum was implemented in Chinese infant schools (3–6‐year‐olds) in 2002, still in operation today, which instead places an emphasis on the children's enjoyment of drawing through making creative and expressive pictures from their imagination. This article describes the key objectives stated in the Chinese art curricula for infant schools. We also present an interview with a Chinese infant school teacher in which she provided in detail how the curriculum is typically applied to the teaching of drawing. The interview also provided some background context to why the curriculum was changed and to its delivery. The article comments on the pedagogical practices adopted, and comparisons are made with Western art education and, in particular, to the teaching of drawing/art in England for the same age group. Finally, we consider what implications the Chinese approach has for the ‘non‐interventionist’ approach to young children's drawing/art that is frequently found in Western art education.     

OWL (On‐line Webstories for Learning): a unique web‐based literacy resource for primary/elementary children

Technology resources created for use by children have often been drill and practise or game‐like in approach. For a literacy resource, the use of narrative provides an opportunity for children to become more immersed in an environment rich in print and illustrations that supports the development of reading skills while encouraging the enjoyment of reading. This paper will examine the rationale for the incorporation of narrative in the OWL (On‐line Webstories for Learning) resource, and how the narrative line is supported by on‐line and off‐line activities.     

用弗洛伊德的“三我说”解读《蝇王》

弗洛伊德的“三我说”为我们提供了阐释《蝇王》的一条重要途径。从杰克、拉尔夫和西蒙之间的斗争可以清晰地看出本我、自我和超我这三个精神层面的较量。人类天性中的邪恶倾向一旦遇到适宜的时机,便会释放出来,摧毁人类文明所建立的道德、秩序和理智。     

论《庄子》寓言对神话思维的超越

《庄子》一书有大量的寓言,其中有的寓言衍生于神话,有的则直接可以看作是神话,《庄子》当中的神人、至人、真人的描述大大丰富了中国神话的内容。同时《庄子》将神话赋予了深刻的寓意,比较彻底地超越了神话传说的思维模式,其充满理性思维的神话式寓言,洒脱而清晰地表述了道家自然无为的学说。     

娱乐 神话 空壳——对当今娱乐文化的思考

近年来各地风起云涌的娱乐选拔赛络绎不绝,演绎了一幕幕"麻雀变凤凰"的轻喜剧,想飞上枝头的普罗大众似乎通过娱乐走进了一个"神话"世界。这种娱乐美其名曰"艺术",掀起一拨又一拨的热潮。然而,穿透这些夹杂着泪水和欢笑的感情攻略,我们可以看到,制造出来的娱乐事件充其量只是一种商业工具而已。     

Moral education at the movies: on the cinematic treatment of morally significant story and narrative

Much contemporary social theory has emphasised the key role that cultural and other narrative plays in any human understanding of moral self and agency. However, in those modern social contexts in which literacy has been widespread, such access to narrative has also been largely via the written word: those significantly educated in cultural heritage have been the primarily well‐read. Still, in an age in which communication is most commonly prosecuted through the electronic media of radio, cinema, television and computer, it may be asked whether or to what extent traditional literary access to cultural narrative has been overtaken by more modern technological events. This paper sets out to explore the potential and prospects of the technological art of cinema for enhanced understanding of morally and spiritually significant narrative.     

建构教学科学、教学技术、教学艺术三位一体教师教育新体系

2001年启动的基础教育新课程改革已进入全面实施阶段;2003年全国100多所非师范院校共同提出挑战教师教育的宣言;2007年教育部直属师范大学恢复实施师范生免费制度.日益紧迫的教师教育新需要,将讨论已久的教师教育专门化及高等师范教育面对基础教育等问题,推到了非系统解决不可的前台上来.教师教育专业化,除体现为人才培养目标、培养模式等的"专门"性外,关键是要具有不可替代的"专门"课程和教学.建构教学科学、教学技术、教学艺术三位一体的教师教育课程与教学体系,及以此为核心的"三位一体教师教育新体系",是打造教师教育专业性,占领教师教育制高点,适应基础教育改革需要的明智之举.作为连接教学科学和教学艺术中端的"教学技术类课程"的建设,是其中最大难点和突破点.     

Exploding the myths of school reform

The purpose of this paper is to present a comprehensive, accessible and strategic overview of what is currently known about school and system reform in the early twenty-first century. It reflects on the knowledge that has been acquired from research, policy and practice over the past three decades and presents it in a way that provides frameworks for action and practical strategies that educators can use to improve the learning and achievement of the students they serve. The use of the ‘myth’ as a narrative artifice provides a structure around which the argument of the paper is developed. The key point being that in education too many myths abound that are based on prejudice or tradition rather than evidence. It is this that primarily explains the failure of so many reform efforts. Identifying the 10 myths in the paper and then exploding them enables a realistic and increasingly precise and aligned approach to school reform to be presented.     

综合艺术课程的实施与策略

我国自2001年起，在新的基础教育课程改革中，首次设置了综合课程。综合艺术课程按照新课程的理念，打破传统艺术分科的界限，在艺术学习和艺术实践中，注重音乐、美术、戏剧和舞蹈等不同艺术门类的融合，艺术领域与其它非艺术领域的联系；强调知识技能与人文主题的结合，最终达到培养学生艺术能力与人文素养整合发展的目的。根据教育部的规划，综合艺术课程从2001年开始逐步在全国有关实验区推广实验。综合艺术课程在我国的改革实践中已取得了经验，实施综合艺术课程是时代的呼唤，历史的必然，是学生发展的需要，同时，目前实施综合艺术课程也存在困惑和问题，应实事求是地寻找相关的对策加以解决。