Children's Perception of Length

The ability of five‐year‐olds to make relative length judgements and relative number judgements was investigated under three conditions. In one condition the items to be compared were presented simultaneously. In the other two conditions they were presented successively, either with a minimal delay or with a delay of 15 seconds. Children were found to be capable of successful discrimination under all three conditions, though their performance was impaired with a 15 seconds delay. The results are discussed with reference to the distinction between identity and equivalence conservation, and with reference to Brainerd's (1973) transitivity of length task. The latter is claimed to be faulty.     

Knowledge and Appearance in Children's Pictorial Representation

Seven and nine year olds were asked to draw two three‐dimensional objects (a cube and a wedge). When there was disjunction between their knowledge of the object's structure and its appearance (cube), they depicted the invariant rather than the variant features and produced rectangular solutions. When differences between the structure and the appearance of the object were minimised (wedge) most children drew a converging form. They could also accurately copy a two‐dimensional converging form. However, the children's knowledge of what the line drawing was supposed to represent did have an effect: in particular, they drew fewer converging obliques when the same line drawing was called a ‘building block’ (a rectangular object) than when it was called a ‘shape’ or a ‘house’ (an object known to contain obliques). A similar pattern of results was observed in a second experiment in which a selection task was used.     

儿童故事中的隐喻现象

现代概念隐喻理论认为,隐喻不只是一种修辞手段,也是人类的重要认知模式。隐喻的本质就是源域与目标域这两个观念域之间的跨域映射。在儿童故事中,主要存在着两种概念隐喻：PHYSICAL ENTITY IS PERSON和PERSON IS PHYSICAL ENTITY.通过对选取的儿童故事的实例分析,我们认为童话故事中的隐喻是无处不在的,关键在于译者和读者如何去解读它的喻体形象,从而分析它的本体形象,在深层意义上理解童话故事,找到它的整体性。     

Children's Perception of Proportion in Graphs

Children ranging in age from 9 to 13 years made judgments of proportion with a variety of graphical elements in 2 experiments. Younger children can be misled by irrelevant dimensions of objects used to portray magnitudes and proportions, but older children make their judgments like adults, ignoring or accommodating the extra dimensions. Although the psychophysical function for older children and adults is approximately linear, closer inspection reveals a complex pattern of bias that is not captured by traditional psychophysical models. A characteristic pattern of over- and underestimation was observed and also turns out to be present, but previously unnoticed, in judgments made by adults. The pattern of bias is consistent with the view that the visual system extracts real or virtual axes of symmetry and that subjects use these, in addition to the object boundaries, as points of reference when making their judgments. A model that assumes repulsion of judgments away from these reference points is described and fitted to the children's data. The model is motivated by both neurophysiological and cognitive considerations.     

基于隐喻分析的儿童劳动观探询

引导儿童结合自己的实际感受,围绕劳动是(像)什么、劳动者是(像)什么等问题创作隐喻,以求通过这些隐喻来揭示儿童关于劳动价值、劳动者形象等问题的劳动观现状。通过对儿童相关认识的分析,提出劳动教育要以“自成目的”置换“成果目的”、以“多样劳动”超越“体力劳动”、以“实践主体”摒弃“旁观之人”。     

就听力问题对幼儿家长所做的调查

为了解幼儿家长对孩子听力情况的了解程度，本文作者自编了一份包括１４个问题的问卷，在西南师范大学附属幼儿园对幼儿家长做了一次调查。结果警示：家长对孩子的听力健康关心不够，不少家长对诸多问题作出“不知道”的回答。结果同时表明，在普通幼儿园的正常孩子中也有一些孩子存在着听力方面的异常情况，应该引起广大家长、幼教工作者和特教工作者的关注。此外，本次调查还反映出一个情况，为幼儿听力检查提供服务的机构太少。最后，调查证实，噪声污染对孩子的听力影响很大。     

教师眼中的“教育爱”:基于隐喻的分析

隐喻是人类认知的基本方式,是建构抽象概念的重要工具。隐喻也是教师实践性知识的重要组成部分和实践语言的主要形式。通过隐喻,教师可以建构和传达他们关于教育爱的认识和感受。在创作的关于教育爱的文章中,31名小学教师中有26人使用了隐喻,共计47个。这些隐喻的源域分为人类及其行为、自然事物、生活事物三种类型。具体包括爱是灵魂和生命、爱是母爱/父爱、爱是旅行、爱是种子、爱是水、爱是阳光、爱是基石、爱是桥梁、爱是钥匙、爱是灯火、爱是动力等13种隐喻。这些隐喻对教育爱的内涵、特征、作用等进行了全方位的建构,扩展着我们对教育爱的认知。     

论儿童认知隐喻机制

隐喻是人类认知世界的一种手段,也是儿童认识世界的手段,但儿童的隐喻认知机制并不同于成人世界的借助语言手段来比较、代替以及类推源域概念系统和目标域概念系统,儿童的认知隐喻机制是一种意象性的认知手段。本文试图从隐喻思维角度来分析儿童的认知隐喻机制。     

玻璃缸里的金鱼--关于儿童班级生活的一个隐喻

今日城市的儿童已失去了广阔的田野,连绵的群山,潺潺的溪流,啾啾的鸟鸣,教育在严密的看管中进行着。教室的分割赋予了每一个生活于其中的儿童以身份的自觉,这种自觉以班级的归属为基础——儿童首先是某个班级里的一员, 而后才可能是学校里的一员。在儿童的班级身份自觉之后, 他们可能会无意识地“自闭”于班级生活里。这种“自闭”对于儿童成长的利弊还没有被人们更深入的研究,之所以如此, 主要的原因是教育工作者对于班级的观察与理解仍然处于一种客观的、冷静的局外人状态。这就好比在一口透明的玻璃鱼缸外,努力地去设想鱼儿们的处境。然而,庄子与惠子之     

空间隐喻与五四儿童文学的文化建构

五四儿童文学的文化建构本源于儿童与成人的空间张力,五四中国的文化空间为五四儿童文学想象中国提供了隐喻质素。具体而论,物理空间确证了儿童价值体系的中国境域,文化空间透析了中国社会分层的话语对峙。五四儿童文学先驱借助儿童镜像来呈示五四中国的现代认同与疏离,体现了现代知识分子建构民族国家的话语努力。     

3～6岁幼儿隐喻理解能力发展现状研究

本研究以杭州市一所幼儿园90名3～6岁幼儿为对象,通过图片配对任务,考察幼儿对6类范畴隐喻的理解能力.结果表明:(1)在所有范畴的隐喻理解任务中均存在显著的年龄差异,而性别差异不显著.(2)小-中班阶段隐喻理解能力的发展速度快于中-大班阶段.(3)幼儿对抽象范畴隐喻的理解能力随年龄增长而增强,不过对知觉类具象范畴隐喻的理解一直具有优势效应.(4)幼儿对隐喻的理解存在若干视角偏好.研究者据此提出教育建议.     

We Can Decide What to Play! Children's Perception of Quality in an Icelandic Playschool

The study was conducted with a group of 5 and 6 year old children in one playschool in Reykjavík, Iceland. The purpose of the study was to shed light on what life in an Icelandic playschool is like for the children attending the program, finding out their views on why they attend playschool, what they do and learn in playschool, what the adults do there, what they enjoy and what they don't like, and what they can or cannot decide in playschool. The study used varied research methods, such as group interviews, children's photographs, children's pictures, and a questionnaire using a cardboard game, to discover children's perceptions and opinions. The results of the study revealed that the children had strong opinions about their playschool life and expressed them clearly.     

读图时代的视觉新闻——从2004年的《羊城晚报》看视觉新闻

本世纪初,出版界和报业市场进入了图文并重的读图时代。在此背景下,新闻媒体继承了图文合一的优良传统,视觉新闻得以发展并盛行。它在为新闻的真实性提供强大说服力、强化新闻的社会化功能、增加新闻的亲民性和可读性等方面具有很大的优势。因此,在当下激烈的媒体竞争中,视觉新闻的应用不失为报纸打造出与众不同的品牌、争取受众的有效途径。     

隐喻、概念隐喻与词汇搭配

在认知语言学里,隐喻是作为人们认识世界的认知方式来进行研究的。它有明显的语言表达特征,即A是B,这是一个形而上学的模式,由此衍生出千千万万千差万别的语言表达方式。概念隐喻,从某种意义上讲,就是根隐喻,它揭示了这些语言表达方式所遵循的一个认知原则。它不仅指导人们理解具体的隐喻句,还激发人们创造新的隐喻句,并深刻地影响着词汇及词汇搭配学习。     

概念隐喻与隐喻语篇的主题分析

在篇章语言学的信息分析中,主题分析具有与主位分析不同的意义。并且,主题分析对于隐喻语篇存在特殊意义,因为主题和概念隐喻是隐喻语篇建构和识解的重要手段。主题分析帮助人们认知隐喻语篇：从创作角度,概念隐喻建构文学作品的基本主题;从识解角度,文学作品的基本主题的关系是隐喻。     

浅析结构、方位和本体隐喻之间的重合

在认知隐喻研究方面,人们普遍接受的是Lakoff和Johnson对隐喻的分类,即把隐喻分为结构隐喻、方位隐喻和本体隐喻。很多学者对这三种隐喻作了大量的研究,但却没有对它们之间的联系做过讨论。以这三种隐喻分类为基准,探讨它们之间的联系,研究发现这三种隐喻的划分不是绝对的,具有交叉重合性。     

斯泰因写作文体的画面解读

选取美国现代派作家斯泰因的立体文体与西班牙“立体派”画家毕加索的立体绘画作为研究对象,采用比较的方法,从文本表现人内心的心理时间与立体技巧两方面考察毕加索的立体绘画对斯泰因的立体文体形成的影响,并比较两者的相似性。