浅谈创造性历史教学

一、创造教育与历史教学创造教育就是培养学生的创新素质———创新意识、创新精神与创新能力。创造性人才主要特征有 :对问题的高度敏锐性、思维的灵活性、认识的新颖性、观念的流畅性、性格的坚韧与豁达性等。创造教育的实施不仅有助于学生学会生存、学会学习 ,更有利于学生学会创造。目前 ,我国中学历史教学中仍然普遍存在一些问题———历史课难教 ,学生认为学习历史用处不大 ,厌学、怕学情绪较突出 ,历史课堂死气沉沉 ,等等。历史课遭冷落 ,历史教学危机的原因是多方面的 ,但主要问题还在历史教育本身。如 ,历史教师的素质较低、能力较…     

创造性地使用教材

教材的改革是中等职业教育课程改革的重要内容之一.我们不仅要编写新的教材,还要在教材使用方面进行改革.如何创造性地使用教材是每个教师面临的任务.课程教学大纲是教师进行教学和评价的重要依据,教材是完成课程目标的途径和媒介.     

创造性练习设计原则与教学例谈

创造性练习是学生在掌握基本练习的基础上 ,为进一步培养学生的创新精神和实践能力而设计的一种练习。创造性练习不仅能帮助学生掌握和巩固所学的知识和技能 ,而且能拓宽学生思维活动空间 ,满足不同层次学生的心理需求 ,激发学生强烈的求知欲和探索热情 ,提高学生分析问题和解决问题的能力 ,从而培养出创新型人才。本文通过一些教学实例谈谈创造性练习的几个设计原则。一、开放性开放性是指教师通过设计条件开放、结论开放、解题策略开放的练习 ,制造认知障碍 ,拓宽学生思维活动空间 ,培养创新意识。1 条件开放的练习设计。设计条件多余或不…     

在开放的教学中让学生创造性占有人类文化

为了让学生学得更主动,需要营造开放的教学格局。为此,可以尝试超越从认识论角度采用的主客两分的思维框架,而从生存论视角采用“人—世界”关系的理解框架,将学生在课堂上的生命经历看作个体与他置身其中的学科世界的交互作用过程。在此基础上,让学科世界向两个方向开放:其一是人类文化世界,其二是个人精神世界;让课堂教学实现人类文化世界与个人精神世界的相互沟通,最终让学生创造性地占有人类文化成果。     

Task design for ways of working: making distinctions in teaching and learning mathematics

A problem identified in the literature around task design is the persistence of a gap between teacher intention and student activity. We show how principles designed around the making of distinctions and having an explicit language of mathematical thinking can eliminate the “gap” by guiding teacher planning, teacher actions in the classroom and student activity in the classroom. We show how our task design principles have developed during the time of our collaboration, over a period of 20 years, across several research projects. We argue for the importance, in task design, of an explicit theory of change and an explicit image of mathematical thinking, where the theory of change is applicable to researchers, teachers and students.     

Teaching for creativity: towards sustainable and replicable pedagogical practice

This article explores the pedagogical significance of recent shifts in scholarly attention away from first generation and towards second generation understandings of creativity. First generation or big ‘C’ creativity locates the creative enterprise as a complex set of behaviours and ideas exhibited by an individual, while second generation or small ‘c’ creativity locates the creative enterprise in the processes and products of collaborative and purposeful activity. Second generation creativity is gaining importance for a number of reasons: its acknowledged significance as a driver in the new or digital economy; recent clarification of the notion of ‘creative capital’; the stated commitment of a growing number of universities to ‘more creativity’ as part of their declared vision for their staff and students; and, the recognition that the creative arts does not have a monopoly on creative capability. We argue that this shift allows more space for engaging with creativity as an outcome of pedagogical work in higher education. The article builds on the project of connecting ‘creative capital’ and university pedagogy that is already underway, assembling a number of principles from a wide range of scholarship, from computer modelling to social and cultural theorising. In doing so, it provides a framework for systematically orchestrating a ‘creativity-enhancing’ learning environment in higher education.

依托科学课程标准创造性地使用教材

科学课程标准提出“用教材教”而不是“教教材” ,科学课的目标设计要体现“用教材教”的意识 ,这样 ,才能把科学探究、情感态度与价值观的目标有机地和科学知识目标结合在一起。小学科学课是让学生经历科学探究的过程 ,教师应因生而异 ,因地制宜创造性地使用教材。为迎接自然课程向科学课程的过渡 ,经过近几年对自然学科的探索 ,深感创造性地使用教材既是科学课程标准对自然教学的要求 ,也是素质教育对自然教学的要求 ,只有这样做才能实现当前自然教学的最优化。一、地域差异 ,要求教师创造性地使用教材我国幅员辽阔 ,各地环境差异较大 ,在…     

Creative teaching of creativity teachers: Polish perspective

The article presents basic information on the strand of psycho-pedagogy of creativity—a unique perspective on creativity teachers’ education in Europe and the world. Psycho-pedagogy of creativity is a major in pedagogy studies, run in Poland, at the Warsaw Academy of Special Education. Our aim is to educate specialists who are open, sensitive and well prepared content-wise in identifying and developing children's and youth's creative potential. We also aim at introducing the studies that function in a wider social context, and presenting the situation of Poland after systemic transformation. It seems that information of this type may prove interesting to researchers and practitioners that deal with education of creativity.     

Teaching and Research: New relationships and their implications for inquiry-based teaching and learning in higher education

In order to bring teaching and research together, a fuller understanding of how academics conceptualise research and scholarship is needed. The paper discusses different ways in which research and scholarship are conceptualised and then provides two alternative models of the relationship between teaching and research based on different conceptions of teaching and different ideas about the nature of knowledge. The paper suggests that if the relationship between teaching and research is to be enhanced it is necessary to move towards a model based on the notion of academic communities of practice. The implications for higher education of doing this are then examined. It is argued that there is a need to reconceptualise the role of higher education and to renegotiate relationships between teachers and students.     

创造性地使用教材应注意的几个问题

创造性地使用教材主要表现在对教材的灵活运用和对课程资源的综合、合理、有效利用。它需要教师具有较强的课程意识 ,准确把握教材编写意图和教学目的 ,避免形式化、极端化倾向。在创造性地使用教材的过程中教师的专业化水平将得到飞速提高     

Teaching and research: new relationships and their implications for inquiry-based teaching and learning in higher education

In order to bring teaching and research together, a fuller understanding of how academics conceptualise research and scholarship is needed. The paper discusses different ways in which research and scholarship are conceptualised and then provides two alternative models of the relationship between teaching and research based on different conceptions of teaching and different ideas about the nature of knowledge. The paper suggests that if the relationship between teaching and research is to be enhanced it is necessary to move towards a model based on the notion of academic communities of practice. The implications for higher education of doing this are then examined. It is argued that there is a need to reconceptualise the role of higher education and to renegotiate relationships between teachers and students.     

创新能力的培养与《机械设计》教学

课堂教学的根本目的就是提高教学质量,而激发学生的积极性和创造性又是提高教学质量的关键。通过分析当代大学生的听课心理特征,结合《机械设计》课程,在拓宽学生的知识面,培养他们创新能力方面做了一些尝试。     

实验教学与创新能力培养

实验教学是培养学生创新能力的重要途径,但传统实验教学还存在着许多与创新教育不相适应之处,这就要求我们必须加强实验教学改革,大力提高教师队伍的教学创新能力,从教育观念、教学内容、教学方法、考核机制等方面对实验教学进行创新,从而探索出一条通过实验教学进行创新教育的新路子。     

Teaching for creativity: from sage to guide to meddler

This paper serves three purposes. First, it makes a case for seeing creativity as a key learning outcome in our times, and thus the core business of education. It then goes on to examine the nexus of creativity and pedagogy, showing the conceptual work done to demonstrate creativity as a learnable set of dispositions and capabilities. Finally and most importantly, the paper argues the value of a pedagogical approach the author calls “Meddling-in-the-Middle”, in augmenting and enhancing the repertoires of “Sage-on-the-Stage” and “Guide-on-the-Side” in order to build students' creative capacity. Examples are given of what these meta-approaches might look like in relation to the teaching of Shakespeare. The author concludes by arguing the important connection between Meddling pedagogy and creative capacity building.     

Teaching creativity with computers

Some criticize computer use because computers — by their nature mechanistic and algorithmic — support only uncreative thinking and production. However, adults increasingly view computers as valuable tools of creative production. Educational research indicates that there is no single “effect” of the computer on creativity; technology can support either uncreative drill or creative production. Research also provides strong evidence that certain computer environments, such as Logo, word processing, and design tools, hold the potential for the computer's facilitation of creativity. There is equally strong evidence that the curriculum in which computer programs are embedded and the teacher who chooses, uses, and infuses these programs, are essential elements in realizing the full potential of technology.     

The dilemmas of teaching for creativity: Insights from expert specialist dance teachers

This paper offers part of the findings of a qualitative, interpretive Ph.D. study, which used a case study approach to explore and illustrate the conceptions of and approaches to creativity of three expert specialist dance teachers working with late primary age children. The specialists had extensive expertise as dance educators in different educational settings together with experience as dance artists. One way of framing their conceptions and practice was in terms of the pedagogical puzzles or dilemmas that they encountered. This paper focuses on the dilemma of ‘balancing personal/collective voice and craft/compositional knowledge’ when teaching for creativity. The findings articulate the foundations of embodied knowing (intrinsic to aesthetic understanding) and the processes fundamental to their teaching for creativity. This is followed by details of the key pedagogical spectra which emerged when responding to the dilemma: prioritisation of creative source—inside out or outside in; degrees of proximity and intervention—distanced reactivity or close proactivity; and spectrum of task structures—purposeful play to tight apprenticeship; and their use in action by the teachers in their different situations. The paper relates these findings to two current questions within education: that of the relationship between knowledge and creativity, and the ways in which adults/experts might engage in teaching for creativity. The paper concludes that this research supports calls for a re-evaluation of aesthetic understanding's role in creativity, grounded in embodiment, within dance pedagogy, which might also be fruitfully heeded within wider educational contexts. It also provides the findings as ‘images of possible’ approaches to inter-relating knowledge and creativity both within dance, and other disciplines, and argues for the use of dilemmas and their solutions as one way of acknowledging complexity and encouraging reflective practice in teaching for creativity, both within teacher training and continuing professional development. Finally, the paper highlights the unique perspective of a group of hybrid education professionals at the arts/education interface, and suggests future areas of research which might develop from this investigation of their practice.     

Evidence-led professioanl creativity: a perspective from the general teaching council for England

This article was originally produced as a presentation for a conference jointly hosted by the General Teaching Council for England and the Institute of Education, London University (where the author holds a visiting professorship) in November 2002. The article attempts to identify some links between ‘evidence’, and ‘creativity’ in the practice of teaching and research. It argues that engaging in and with research is often professionally refreshing, and can also constitute a more organic approach to school improvement. If this is so, then conventional modes of research dissemination need to be re-thought.     

语文教学中培养学生创新思维探微

培养学生创新思维的途径多种多样 ,但首先应该具有为国家明天的强盛培养学生创造力的意识 ,进而在教学中引导学生积累优化所学知识 ,激励学生在学习中拓展想象和思维天地 ,敢于并善于发问。