试析《修辞学发凡》中的图示及其互文性

陈望道《修辞学发凡》十分注重文字图示符号的功能并使用了一定量的图示,这些图示在篇章中形成一种图文并茂的互文。作为元符号的图示主要包括静态结构图和动态关系图,作为对象符号的图示主要是实物效果图。“静态结构”、“实物效果”及“动态关系”在相应篇章上呈现出一定的互补分布态势并总体上形成体系。《修辞学发凡》中的图示具有方法论意义。     

纲要图示及表解法在历史教学中的运用

结构图示和表解法是历史教学中常用的方法 ,结构图示有感性和理性图示两种 ,表解分类可分为简一性、专题性和比较性表解三类     

纳要图示及表解法在历史教学中的运用

结构图示箐解法是历史教学中常用的方法,结构图示有感性和理性图示两种,表解分类可分为简一性、专题性和比较性表解三类。     

对现行建筑制图标准的几点质疑

分析了现行《房屋建筑制图统一标准》、《建筑制图标准》、《建筑结构制图标准》中存在的部分问题,并提出几点修改建议。     

《建筑结构实训》课程教学实施及几点思考

《建筑结构实训》是一门着重培养学生对钢筋混凝土楼盖、楼梯、雨棚,以及梁、柱等基本构件结构施工图的识读、绘制及指导建造的学科。遵循结构设计规范、结构制图标准及质量验收的要求,培养学生的实践操作能力,努力做到理论联系实际。优化《建筑结构实训》课程教学,无论是课堂的理论教学、多媒体教学,还是实习实训基地实践教学,都应结合具体实际,充分发挥各教学方法和教学手段对教育、教学的推动作用,贯彻因材施教原则,重视技能技术训练,培养高素养的适应市场经济的实用型人才。     

中职学校《建筑力学》教法探析

《建筑力学》课程的特点是内容多、概念多、公式多,教与学都存在一定的困难。在教学过程中采用图示法、引导法、类比法等方法,可以收到良好的教学效果。     

浅谈在《工程制图》教学中对学生形象思维能力的培养

《工程制图》是研究如何绘制和阅读工程图样的学科,是建筑专业的一门专业基础课。通过学习,不仅能培养学生的空间想象力、图示能力、阅读能力,而且对学生学习建筑施工、工程预算、房屋建筑学、建筑结构与课程设计等影响非常大。该课程     

图示理论框架下的英语写作教学实验研究

图式理论是认知心理学中用来解释心理过程的一种理论模式,可分为内容图式和结构图式两大类。本文将图示理论引入英语写作教学领域,探讨了图式理论在大学英语写作教学领域运用的操作模式,并通过实验研究验证了其可行性。研究结果显示,教师实施写作图示教学能够帮助学生建立并拓展写作内容和结构图式,从而提高学生的英语写作能力。     

基于现代图示理论的小学全科师范生英语阅读教学导入策略研究

该文基于现代图示理论,总结出影响阅读能力的图示包括:语言图示,内容图示,结构图示和策略图示.应用现代图示理论分析当前小学全科师范生英语阅读教学中存在的问题,并提出在阅读教学的课堂导入环节如何构建这四种图示内容.以期在学生阅读环节,利用文本信息激活以上图示,实现文本信息与读者的已有知识结构的良性交互作用,从而全面提高读者的阅读理解能力.     

巧用数学图示 助力几何直观——小学数学图示的价值新厘定与实践新视角

几何直观作为十大核心词之一正式出现在《义务教育数学课程标准（2011年版）》后,新修订的《义务教育数学课程标准（2022年版）》对它的界定与表述更为丰富、更为清晰。数学图示作为几何直观的一种呈现形式,应引起广大数学教师的重视。文章立足新课程标准对数学图示的教学价值重新进行了厘定,从“兴趣驱动”“问题驱动”“任务驱动”这三个视角阐述如何借助数学图示发展学生的直观感知、直观体验和直观洞察能力,促使学生实现数学思维进阶,助力学生几何直观素养的提升。     

Human Figure Drawings by Schooled and Unschooled Children in Papua New Guinea

Human figure drawings were collected from 287 schooled and unschooled children, aged between 10 and 15 years, living in a remote region of the Western Highlands Province of Papua New Guinea, an area with no tradition of graphic art. A classification and ordinal scoring system was devised which encompassed graphic productions ranging from scribbles to conventional competent human figure drawings. The effects of school experience on drawing, even brief and indirect experience, were found to be significant. All the children attending school drew only conventional human figures, but the whole range of drawings, scribbles, transitional forms, and conventional human figure drawings were found in the unschooled children's attempts. Nonrepresentational scribbles and shapes were largely produced by unschooled children living in remote villages without a school, trade store, or mission. Some children appeared to be able to draw representations of the human figure without going through a scribbling stage. The material is considered in relation to other reports on drawings produced by children from societies with little or no indigenous graphic art. The results are discussed in relation to various theories on the development of drawing and representational abilities.     

Responding to children's drawings

This article aims to explore the issues that face primary school teachers when responding to children's drawings. Assessment in art and design is an ongoing concern for teachers with limited experience and confidence in the area and, although children's drawings continue to be a focus of much research, the question of what it is that teachers say to young children that has a positive impact on the development of their drawing is under-explored. The article aims to identify the components of what constitutes children's competence in observational drawing through a detailed analysis of a drawing made by a 6-year-old child. Connections between the teaching of drawing and the teaching of literacy are highlighted, and the article concludes that children who are able make confident representations of the visual world are better placed to express their own ideas, thoughts and experiences through art.     

Curating blood: how students’ and researchers’ drawings bring potential phenomena to light

This paper explores students and researchers drawings of white blood cell recruitment. The data combines interviews with exhibit of review-type academic images and analyses of student model-drawings. The analysis focuses on the material aspects of bio-scientific data-making and we use the literature of concrete bioscience modelling to differentiate the qualities of students model-making choices: novelty versus reproduction; completeness versus simplicity; and the achievement of similarity towards selected model targets. We show that while drawing on already published images, some third-year undergraduates are able to curate novel, and yet plausible causal channels in their graphic representations, implicating new phenomenal potentials as lead researchers do in their review-type academic publications. Our work links the virtues of drawing to learn to the disclosure of potential epistemic things, involving close attention to the contours of non-linguistic stuff and corresponding sensory perception of substance; space; time; shape and size; position; and force. The paper documents the authority and power students may achieve through making knowledge rather than repeating it. We show the ways in which drawing on the images elicited by others helps to develop physical, sensory, and sometimes affective relations towards the real and concrete world of scientific practice.     

基于网络的工程制图教学与学习系统

工程制图一直被认为是一门实践性学科,其整合了几何学、建筑、力学、电子制图等,从而将理论与现实图像联系起来,工程制图能为每个不同形状、尺寸的物体提供精确的、完整的图像。通常,即使在开放与远程教育环境中,工程制图的教学也是通过面对面的教学模式来进行的。由于其特殊性,一些学习者可能难以想象并解释这些图像。然而,尖端的技术使得可以通过在线的方式加强工程制图的学习。研究者基于建构主义模式开发了一个面向工程制图教学和学习的网络系统。该系统适用于几种工程制图,例如展开图、刻面图、等角图和斜角图。学习过程包括导论、概念学习、工程制图方法,以及应用与练习等阶段。在导论阶段,系统为学习者提供了专题简介,然后是概念学习阶段。系统所提供的学习环境允许工程专业的学生从三维透视、一维透视、平面图、侧立面、正立面等不同角度来观察物体。经过概念学习阶段后,系统将引导学生通过动画和模拟学习每个专题中制图方法的不同步骤,学习者也能重复观察任何剖面。另外,还通过图像、动画和视频等方式展示真实的工程制图应用案例。最后,为了评价学生的理解能力,在每部分内容后面都附有相关的练习。     

Signs,symbols and schemas: understanding meaning in a child’s drawings

This paper examines the schematic underpinnings in the drawings of a four-year-old girl, Thea. The paper reviews literature on graphic representations, signs and meaning-making before discussing schematic form in children’s drawings, the theoretical background for the study. The paper discusses ethical issues and methodological approaches to the study where data include drawings made at home and school, Thea’s recorded talk about drawings, and video recordings of her drawing sessions over a four-month period. These were coded manually and using NVivo to identify schemas. The paper discusses examples of Thea’s exploration of enclosure and trajectory schematic form, which are represented by rich content derived from her experiences and imagination. The paper concludes that Thea’s drawings included many schematic signifiers with clear evidence of complex thinking around enclosures and of vertical and horizontal trajectories. The paper evidences the importance of listening to children’s talk as they draw in order to understand more fully, the meanings they are making. Through signs, symbols and personal narratives, Thea used drawing as a meaningful semiotic space where her persistent schematic concerns were manifest.     

Sequencing and Differentiation in Young Children's Drawings

This paper reports a study of drawings of men and dogs by 80 British children aged 3-7 years, which are analysed for their degree of differentiation in relation to the graphic features and tools used, and also for the sequencing of the different features incorporated. In common with previous research, the degree and sophistication of differentiation is shown to generally increase with age. However, the production of different sequences of features within the two drawings is shown to be more closely and directly related to their degree of differentiation. It is argued that introducing young children to the use of different sequences in their drawings may facilitate their development in solving a range of graphic problems.     

Generative Processes: Thick Drawing

This article presents techniques and theories of generative drawing as a means for developing complex content in architecture design studios. Appending the word ‘generative’ to drawing adds specificity to the most common representation tool and clarifies that such drawings are not singularly about communication or documentation but are also productive instruments for architectural inquiry. A particular aspect of generative drawings is their potential to directly activate conceptualisation processes. Such advancement is demonstrated through evidence of continued design thinking development rather than isolation of schemes at a particular point in a process. Generative drawings offer the means of advancing multiple paths of inquiry rather than singular research channels typified in introductory pedagogies. The relevance of drawings as polemical instruments or tools of critique and history is well established, but the intellectual and physical techniques of generative drawing that advance multiple modes of architectural research are less explicit. The use of drawings as discursive instruments is a critical step towards the alignment of authorship as but one category of priority alongside the rich and complex field of forces beyond individual intuition. The recognition of design research as a category of inquiry commensurate with scientific or historical disciplines requires that our instruments have explicitly defined purpose. By discussing specific techniques and the reasons for communicating such intuitive or inexplicit architectural conditions, this article seeks to disperse the mysterious haze that obscures the legibility of architectural drawing from the uninitiated.     

The relationship between drawing and oral language in deaf students aged three to five

This study examines the relationship between drawing and oral language acquisition in deaf students aged three to five. The sample is made up of one hundred participants: fifty deaf and fifty hearing children. Goodenough's Human Figure Drawing Test and the WPPSI Scale of Intelligence geometric design subtest have been used to evaluate graphic representation. The deaf participants' oral language has been assessed using the GAEL-P test. The main findings were that there were no significant differences between the populations studied in terms of graphic representation. The oral language level of the deaf population does not correlate with the level of their geometric designs, but does with the complexity of the drawing of the human figure at the age of 5. The main conclusion with respect to the relationship between oral language and figurative drawings suggests that different representations of symbolic functions should be integrated into children's education, especially in the case of deaf children.