胶板与砂板乒乓球运动对六年级学生视力健康水平改善程度比较

目的： 探究胶板、砂板乒乓球运动对小学六年级学生裸眼远视力(SVA)及动态视力(KVA)的影响,为体育锻炼促进视力健康水平提供参考方法： 选取六年级2个自然班共74名学生作为实验对象,分为胶板乒乓球组和砂板乒乓球组,干预周期32周,采用标准对数视力灯箱、KVA检测仪对被试实验前、中、后测的SVA及KVA进行测试结果： 胶板组和砂板组被试的SVA和KVA均有显著提高(P＜0.05),在实验前、中、后测水平上,胶板组与砂板组的SVA均不存在显著差异(P＞0.05),在实验后测阶段,胶板组与砂板组的KVA具有显著差异(P＜0.05),砂板组后测近视人数显著低于前测(P＜0.05)结论： 胶板与砂板乒乓球运动均能提高六年级学生SVA和KVA。砂板乒乓球运动改善视力健康水平的效果优于胶板乒乓球运动,主要体现在KVA上。胶板乒乓球运动适合轻度视力不良的儿童青少年,砂板乒乓球运动适合重度视力不良的儿童青少年。     

对沈阳体育学院民族传统体育专业课程设置的思考

文章就沈阳体育学院民族传统体育专业课程设置结合民族传统体育专业方向、培养目标与学生毕业去向进行分析,认为沈阳体育学院民族传统体育专业课程设置偏重武术,对传统体育养生和民族民间体育两个方向的重视程度不够。建议加大传统体育养生和民族民间体育两个方向的课程,拓宽专业口径;同时也应重视民族传统体育专业以外的其它适应就业需要的课程的学习。     

基于高校体育类普修田径课程教学改革的研究

运用文献蛋料法对目前高校体育类田径课程教学存在的诸多问题,提出改革的思路和建议,希望能够为探索高校体育英田拄课教学改革的途径和方向提供一定的参考。     

我国残疾人体育的发展现状及对策研究

通过查阅大量的文献资料,进一步揭示了在残奥会之前的残疾人体育现状,并提出相应的对策,为今后残疾人体育的开展提供有价值的参考。     

构建和谐社会与现代化中的思维方式转变

现代化是当今社会发展的大趋势。在世界日新月异的形势下,必须根据现代化实践的发展,实现思维创新和思维方式转变。只有使思维与现实发展一致,才能真正地做到与时俱进。构建社会主义和谐社会的时代命题,既是对现代化发展要求的新认识,也是思维方式的重大转变。     

论学生品德评价的困境

学生品德评价是学生评价的重要组成,品德培养和评价的复杂性和环境复杂与过去操作的种种失误使学生品德评价困难重重。本文在分析学生品德评价的四大困境:品德标准模糊、品德评价的定位误区、品德评价的方法单一、多元环境的挑战的基础上,提出对策建议:建立合理的学生品德发展目标体系、坚持正确的评价价值取向、重视德育,积极改革、正视评价的作用,多种评价方法和手段综合运用、重视学生自评和互评,充分发挥学生群体教育和自我教育的力量。     

民间借贷危机及民间借贷制度变革探析

前不久,温州借贷危机引发的多米诺效应成为了舆论关注的焦点,民间借贷的混乱导致许多中小型企业的资金链断裂,濒临破产,究其原因是我国目前对民间资本借贷缺乏有效的制度和监管。如何对民间借贷进行规范,引导其健康有序地发展,是一个迫切需要解决的问题。     

浅析陈十四信仰的畲族民族化

陈十四信仰主要分布于闽浙粤台等地。这一信仰不仅在汉族社会广为流传,而且深入到畲族社会,并完美地与畲族文化融合,并在畲族人民的生活中展现出民族个性。通过对畲族民间文学、民俗生活和音乐舞蹈中陈十四信仰表现的论述,认为陈十四信仰的畲化主要源于畲汉共通的师祖关系、畲族自身的内部需求、民族生存的外部认同和强势文化的民族融合。     

以人为本的开放实验室管理机制研究

以培养学生创新能力为主要目标,提出一个初步的开放实验室的管理机制,包括健全管理制度、搭建开放式实验室运行平台、探索实验教学管理模式等。     

Conceptualizing an East Asian popular culture

Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.