毛泽东的“三个世界”理论及其现实意义

毛泽东晚年提出的“三个世界”理论,对当时我国制定对外政策、建立国际反霸统一战线、维护世界和平与稳定发挥了不可估量的重要作用。时值今日,“三个世界”理论中的许多重要思想,仍然具有重大的现实指导意义。     

也谈自然美

蔡仪、朱光潜、李泽厚诸先生关于自然美的观点各有得失,应当互补.探讨自然美,必须兼顾三个世界.自然美是依据第一世界的客观事物的具体形状和第三世界的文化观念,按照第二世界的基本样态孕育的体现人类理想的形象.在这里,自然物不仅被"人化",而且被"艺术化".     

新知识背景下的“三个世界”理论——三个世界合理性的阐释

波普尔的“三个世界”理论一经提出就引起巨大反响,我国学者对之也有激烈争论。在新的技术和理论背景下,为“三个世界”理论的合理性提供新的证据,旨在论证三个世界的合理性及三个世界的相互关系理论,并在一定程度上发展了世界3理论。     

花园内外,阴阳两界─—试论《牡丹亭》男性世界与女性世界的分与合

《牡丹亭》的传统诠释在于“以情抗理”,这一诠释并未彻底突破《西厢记》的言情模式;它往往突出了杜丽娘一线,而视其它情节的掺入为零乱、散漫、抵牾……实际上,《牡丹亭》是一个不可或缺的整体。从传奇的结构及其人物体系来看,一部《牡丹亭》Ａ是在杂乱无序中,以“阴阳两界”、“花园内外”为转轴,建构了一个精致的二元世界：男性与女性、情与非情。二者间的矛盾统一突出了男性主体对传统（男性）价值体系既肯定又否定的态度,以及由此产生的执著、愤懑、荒谬、空幻的情感历程。《牡丹亭》由此成为折射时代意蕴最精致的文本     

Unfolding lives in digital worlds: digikid teachers revisited

In this paper, I describe ongoing research exploring ways in which young teachers’ digital lives unfold inside and outside classrooms. I first interviewed teachers in 2006, and identified three different routes into digital worlds: serious solitary self‐taught, serious solitary school‐taught and playful social. A number of teachers agreed to be interviewed again in 2010. I outline ways in which I compare and contrast interviews over time, using analytic markers developed in ‘Inventing Adulthoods’, a Qualitative Longitudinal Research project. I also describe ways in which I set my analysis in Adam's concepts of time: ‘biographical time, generational time and historical time’. Case studies are outlined of three teachers, one serious solitary and two playful social. All three were language coordinators in 2006, and already experienced, innovative teachers of literacy. I argue that in 2010, the serious solitary teacher is able to bring new competences to the classroom, but fitting existing ways of teaching. In contrast, the playful social teachers bring new ways of knowing about digital worlds into classrooms, but these new ways are realised only if competences are recognised, communities are supportive and traditional ways of knowing about teaching and the curriculum do not block new ways of thinking.     

The road less travelled: the journey of immersion into the virtual field

This article provides an account of my experience of immersion as a third-level teacher into the three-dimensional multi-user virtual world Second Life for research purposes. An ethnographic methodology was employed. Three stages in this journey are identified: separation, transition and transformation. In presenting this journey of immersion, it is hoped that the article will contribute to the discussion of conducting research in online environments.     

Introducing Case Management to Students in a Virtual World: An Exploratory Study

This paper discusses a small, exploratory study introducing students to case management using role-plays conducted in a virtual world. Data from pre- and posttest questionnaires (to assess self-efficacy regarding a range of case management tasks) suggest students felt more confident in their abilities after virtual role-play participation. Also discussed is preparing students for learning in a virtual world, some best practices to consider when developing virtual world experience, and larger contextual issues of increased broadband access to avoid exacerbating educational disparities.     

试论《三四郎》的朴素之美

《三四郎》作为夏目漱石的“三部曲”中的第一部序曲,被喻为漱石文学中最出色的青春小说。小说描写了主人公三四郎从一个乡下毕业的高中生成长为一名东京大学生的所见、所闻、所感,以及他的心路历程。作品通俗易懂,充满知识性与趣味性,从更深层次展开了对社会现实的批判以及对人生真义等的探求。文中的主人公三四郎始终处于一种躁动的苦闷中,有一股力量在推动着他在三个完全不同的世界之间彷徨,他充满了迷惑与茫然,这也代表了明治维新以后年轻知识分子的困惑,揭示了当时社会知识分子的生存窘境。小说没有惊心动魄的场面,但却扣人心弦,处处透露着一股平凡朴素之美。     

The quiet revolution of poetry slam: the sustainability of cultural capital in the light of changing artistic conventions

This paper considers the educational and theoretical implications of an analysis into the artistic movement of poetry slam. Slam is a successful and growing global phenomenon, which both directly and indirectly sets itself against the dominant literary world. As such, it could be viewed as presenting a challenge to dominant literary conventions and thus to the cultural capital of those who rely upon such conventions. Using data drawn from an ongoing ethnographic study, employing semi-structured interviews with 44 poets, promoters and educators active in the slam community, and participant observation of 21 slams in four cities, this paper explores what poetry slam can tell us about the ways in which members of dominant art worlds and new artistic movements interact and the implications which this has for the sustainability of cultural capital in the light of newly emerging artistic conventions and discourses.