试析我国民间工艺的儿童教育价值

当前,对民族传统文化的关注已成为学前教育界的共识。然而如何在纷繁复杂的民族传统文化中选择最能与儿童早期接受能力相一致的文化样式是摆在研究者面前的首要问题。民间工艺兼具物质与精神双重属性,既体现着"天人合一"等传统文化深厚内涵,又具有造型古朴、色彩鲜明等显性物化特征。以恰当方式将民间工艺引入幼儿园课程,不但能给予儿童传统文化的精神陶冶,也为儿童的实际操作、思维训练提供物质支撑,符合儿童心理特征,易为儿童理解和接受。因此,民间工艺是使幼儿园课程得以有效实现文化传承与儿童发展双重价值的优良载体。     

河南民间工艺美术的传承与发展研究

非物质文化遗产是世界文化遗产中最主要的组成部分,民间工艺美术是非物质文化遗产中的主要内容。河南是中华民族优秀传统文化的重要发祥地之一,民间工艺美术更是其中的瑰宝。保护和利用这些具有地方特色的文化资源,对于继承和弘扬民族优秀传统文化,具有非常重要的意义。在传承的前提下进行改革和创新,是对民间工艺美术最有力的保护,也是推动河南文化强省建设,实现中原崛起的重要举措。     

楚雄彝族刺绣的再设计

彝族是一个有着悠久历史的民族,彝族服饰中的刺绣是彝族文化的一朵奇葩。彝绣作为楚雄具有独特风格的民族手工艺术,是彝族文化传承的一个重要载体。彝绣作为一项特色产业在快速发展,与此同时,不足之处也越来越明显,其图案、形式、材料、色彩等各方面的设计都未跟上时代的步伐,彝绣如何进行拓展,彝绣的再设计和再探索值得认真的思考、研究。     

Aesthetic Learning About,In, With and Through the Arts: A Curriculum Study

Aesthetic learning is a major issue in arts education. The ‘method of art’ is often expected to facilitate in‐depth learning not only in the arts but across the curriculum. This article defines aesthetic learning in terms of a conceptual framework based on two dimensions, one representing the goal and the other the means of aesthetic learning. The goal is described as convergent or divergent. Convergent learning is goal‐directed, focused and rational, while divergent learning is explorative, open‐ended and intuitive. The means are described as medium‐specific or medium‐neutral. Medium‐specific learning emphasises the forms of representation, for example words, pictures, algebra, dance. Medium‐neutral learning emphasises instrumental aspects of learning, such as academic achievement or personal development. Combining these dimensions two‐by‐two, the author arrives at a suggested definition of what is meant by learning about, learning in, learning with and learning through the arts. The rest of the article investigates the potential utility of this framework in various contexts and for different purposes. First, the author presents two temporary ‘Culture‐in‐School’ projects. Secondly, the framework is used to study aesthetic learning processes in sloyd (art & craft), based on student teachers’ portfolios in metalwork. Thirdly, the four modes of learning are compared to equivalent modes of teaching: the instructor, the facilitator, the advisor and the educator. Fourthly, there is a discussion on the role of aesthetics in a ‘balanced’ curriculum. Finally, there is an argument on the need for a variety of assessment tools based on the four modes of learning and teaching, such as copying, portfolios, projects and the repertory grid technique.     

完善圆柱齿轮加工过程信息功能模型分析

在分析目前齿轮加工过程的基础上,应用齿轮参数空间图和功能模型讨论了提高齿轮加工质量和生产率的工艺方法,得出了控制工艺装备、选择合理工艺参数、优化工艺过程等方面完善齿轮制造过程,并以拉刀为实例进行了分析。     

将先进的工艺技术引入教学--电子产品生产工艺概述

本文阐述了工艺技术对电子产品生产的作用,工艺技术在教学中应用的特点,提出通过建设电子产品生产实训基地将先进的工艺技术引入到教学课程中.     

微波法对提取姜黄素的强化作用

研究在微波的作用下，从姜黄中提取姜黄素的最佳工艺条件为：浸取剂为70％的乙醇溶液；剂料比1：15；微波功率240w；微波回流时间3min，与产率较佳的乙醇加热回流法和酶解后碱水回流法相比，微波法的萃取效率是前的100倍，是后的83倍，且萃取率是三中最高的，可见微波法对提取姜黄素有极强的促进作用，且产品的各项理化指标符合国家食品添加剂行业标准GB1415。     

苗族芦笙工艺文化研究综述

芦笙作为苗族之魂,在苗族的社会生活和文化生活中占有重要地位。但是。由于苗族没有文字,从古至今的芦笙制作工艺传承方式均为心口相传,加之现代化生产的影响,芦笙制作的经济效益比较低,所以面临着失传的困境。对现有芦笙制作工艺资料的梳理和分析,为苗族芦笙工艺文化传承提供参考。     

包装设计与福州漆工艺的融合

中国的包装设计一直以发扬民族传统特色为主旨。随着信息化时代的到来,中国本土的包装设计逐渐与国际接轨。为了积极推动福州传统工艺漆器的产业化发展,将其与包装设计相结合,意在重视对传统包装的了解与运用,结合漆器工艺优势,为现代包装设计提供新的发展方向,也为地方特色工艺的传承创造良好的条件。     

Ratings for the mercantile marine: the roles of charity,the state and industry in the pre-service education and training of ratings for the British Merchant Navy, 1879–1939

Pedagogically aimed craft education was established around the same time as the school-based system of formative education, under the term Sloyd. This refers to a pedagogical system of manual training that promotes general child development, through the acquisition of the technical skills employed in woodwork, metalwork, sewing, knitting and the making of useful objects by hand. The purpose of Sloyd was to employ craft as a tool in general education, in order to build the character of a child, encouraging moral behaviour, greater intelligence and industriousness. The Sloyd pedagogy reached Iceland towards the end of the nineteenth century: during the years 1889–1938, 38 Icelanders had attended Otto Salomon’s teacher-training school in Nääs in Sweden, in order to learn Sloyd. These students became pioneers of the pedagogical craft in Iceland and their influence was significant in the development of the still-existing school subject.