教师发展阶段理论综述及发展水平模型的构建

一、研究源起 教师的专业成熟要经过一个长期的发展过程,从一个新教师成长为一个合格的、优秀的教师乃至知名的教育家,不是一蹴而就的,就专业成熟的过程而言,需要经历一个发展阶段。因此,对教师成长的周期和规律的研究,有助于为教师指明个人的专业发展道路,为教师的专业学习和训练提供需要的基本内容。     

Queer Intercultural Relationality: An Autoethnography of Asian–Black (Dis)Connections in White Gay America

For this critical intercultural inquiry, I as an Asian/Japanese transnational cisgendered gay man write my autoethnography of queer (or non-heteronormative) Asian–Black (dis)connections. Specifically, I challenge, interrogate, and problematize my queer intercultural production of desire and attraction as I engage in my critical autoethnographic interrogation of dialogues with five Asian/Japanese transnational gay men who have previously engaged in queer Asian–Black relationality. In so doing, I intend to create a potential point of departure to decenter the discursive and material effects of White gay normativity in the knowledge production of Asian queer male desire and attraction.     

2018年U18女篮亚青赛日本队进攻特点研究

凭借着顽强的团队作风和快速灵活的打法,日本女篮近些年多次站在亚洲最高领奖台上,成为中国队的劲敌,无论是青年队还是成年队都给中国队前进路上带来了不少阻碍。俗话说“知己知彼,百战不殆”。本研究运用录像视频分析法、文献资料法及数理统计法,对获得2018年U18女篮亚青赛亚军的日本队进攻特点进行研究与分析。通过对日本队的进攻特点进行研究与分析从而为我国青少年篮球后备人才的培养提供更加广阔的参考依据与培养方案。     

Online interaction across three contexts: an analysis of culture and technological affordances

Students were linked virtually across three contexts: U.S., Malaysia, and China. Differences emerged in how student-created messages were constructed and interpreted; these impacted perceived relational affiliation. Messages constructed by students in Malaysia and China exhibited casual talk, greater self-disclosure, requests for personal information, and greater use of emoticons/emoji. Interactions were perceived as informal, friendly, and positive. U.S. students’ messages often showed institutional talk, less self-disclosure, and more attention to the instructor-assigned task. Asian-U.S. student pairs perceived their interactions as formal, less friendly, and less positive. This study shows how online technologies may be afforded and shaped by culture and interaction.     

近10年中国新疆与中亚对外贸易依存性发展

对中国新疆与中亚2005-2014年10年间对外贸易发展变化进行对比分析,研究在时间尺度上双方贸易额、贸易结合度、贸易差额及贸易发展环境的动态变化。结果表明：新疆对中亚国家贸易额逐年提升,在中国对中亚贸易中比例逐年下降;双方贸易结合度高,但结合度在逐年下降;新疆对中亚国家存在较大的贸易顺差,并且差额在持续扩大;新疆贸易发展环境优于中亚国家,近年双方贸易环境日趋转好。为进一步优化双方贸易,提出如下建议：加强新疆加工贸易的发展,提高进口原料的消化能力;加强新疆从中亚国家的进口工作,平衡双方贸易差额;积极推进双边自由贸易区的建设。     

武术表演走进广州亚运会体育展示的可行性分析

2008年北京奥运会上体育展示中加入了武术表演内容,引发世人对武术表演展示的思考,文章运用文献资料和逻辑分析的研究方法,通过对武术表演的价值特点、体育展示的功能及2010年广州亚运会的体育展示目标分析,对2010年武术表演走进广州亚运会体育展示的可行性进行研究,以期为体育展示的未来发展和2010年广州亚运会的体育展示提供参考。     

激情、和谐、使命——广州亚运会与时代使命的交相辉映

亚运会是中国人的盛会,1990年北京亚运会的"团结、友谊、进步"的理念宗旨成为了提升民族凝聚力的粘合剂,同时也展现了中国"四海会宾客,五洲交朋友"的大国情怀。文章采用文献资料法、逻辑分析法等研究方法,向世人阐明"激情盛会,和谐亚洲"这一第十六届亚运会的理念宗旨。广州亚运会既是全亚洲的盛会,更是中国人生命中的盛会,国人的努力将使亚细亚运动会再度辉煌。     

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.     

Asia Pacific studies in an age of global modernity

This article argues that the end of the Cold War and the attendant globalization of capital call for a reconfiguration of areas, including the Pacific, has played a significant part in the ideological formation of globalization. The resultant formation is ‘global modernity’, representing at once the globalization and the fragmentation of capitalist modernity. The article discusses five intellectual responses to this situation in studies of Asia and the Pacific that propose new configurations to substitute for earlier area studies: civilizations, oceans, diasporas, Asianization of Asia studies, and indigenous studies. It argues that these substitutes themselves are tied in with new formations of power, and should not be taken at face value. Most important is to remain attentive to configurations from the bottom up that are products of struggles against oppression and exploitation.     

The camera in pain: memories of the Cold War in East Asian independent documentaries

Abstract

This article begins with a discussion of the changing topography of cultural production in East Asia over the last 25?years, especially as it concerns the genre of independent documentary film, and then it turns to three independent documentaries filmed in Japan and North Korea, South Korea and Japan, and China, respectively: Yang Yong-hi's Dear Pyongyang (2005 Dear Pyongyang. 2005. Directed by Yang Yong-hi. Busan International Film Festival. [Google Scholar]), Mun Jeong-hyun's Grandmother's Flower (2007 Grandmother's Flower. 2007. Directed by Mun Jeong-hyun. Busan International Film Festival: [Google Scholar]), and Wang Bing's He Fengming: A Chinese Memoir (2006). Erased from the official historical record and excluded from public commemoration, the alternate history of pain traced by these documentaries resubmits the Cold War to examination from deep inside its most private wounds. In the process, the filmmakers encounter not only the memories of the earlier generation that lived through the most violent episodes of the Cold War, but also come to question their own history and identities within the process of the Cold War's decomposition.