中学校园足球文化结构及认知差异研究

摘要：通过文献资料法、问卷调查法、专家访谈法、数理统计法等,从中学体育教师、学校领导角度出发对中学校园足球文化结构进行了理论假设与验证,同时调查了体育教师对中学校园足球文化结构的认知差异情况。结果表明：1）通过综述以往研究,提炼出了中学校园足球文化由政策解读、校本实际、自我能力、学生情况、地域文化、社会环境、足球核心价值7个维度构成,并得到了良好的验证。2）通过进行单因素方差分析发现：中学体育教师因为教龄、性别、任教地区、任教阶段的不同,对中学校园足球文化结构的认知存在一定的差异。立足于中学体育教师和学校领导展开的调查,旨在为中学校园足球文化的基本结构及内涵认识情况进行了解,中学的校园足球文化参与者有了清晰的认识,就能够在一定程度上引领学生参与和学习正确的足球运动,从而为中学校园足球文化的构建奠定一定的理论基础。通过对中学体育教师认识差异的原因进行科学的分析和讨论,积极探索当前社会背景下构建中学校园足球文化的方法和途径,为中学特色校园足球文化的可持续发展提供积极的理论基础,也为中学校园足球的开展提供积极的理论借鉴。     

学校体育场地设施对社会开放的安全风险规避研究

摘要：为科学预测和控制学校体育场地设施对社会开放的安全风险,运用文献资料法、访谈法、案例分析法、问卷调查法和数理统计法对学校体育场地设施对社会开放过程中出现的安全风险因素进行研究。基于90个开放案例的事故树分析,识别出开放过程中的物、人、制度和环境4大类,共30个安全风险因素;通过巴雷托分析法和风险矩阵分析法评估出运动场地、运动器材设施,锻炼者、管理者4类关键安全风险因素11个;针对关键安全风险因素,提出引入第三方管理,分时、分类、分阶段开放,与社区合作、加强社区居民的管理,多元主体协同供给体育指导、咨询服务等事前风险预防措施;引入开放风险保险制度,设立开放风险专项基金制度的事后风险转移措施。以期能解决学校体育场地设施对社会开放过程中面临的实际问题,推进学校体育场地设施资源共享,促进全民健身事业的发展。     

武术的文化解释

摘要：武术不仅是“术”,而且是显学和玄学的文化复合体,蕴藏着复杂而深奥的话语符号及精神意义。为了探骊武术文化的本真渊源与精神,对于武术及其高级阶段的内家拳进行研究,主要采用文献研究法,从文化形态学、文化人类学、宗教哲学和体育学等视角,运用格尔茨的文化“深描”理论,对其学术范式及认知图式进行文化阐释。研究认为,武术是生命科学所涉,武术文化是觉醒的文化;武术文化的原初属性,是其“观念—意义”、“武—道”的符号—结构—编码系统,更多地依赖道德直觉、本能体悟等符号解码系统;内家拳是武术的代表和精髓;道家修真文化和隐逸文化促成了内家拳的原初精神——返璞归真,内家拳进而传承和践行着道家、道教的精神和价值——悟道蓄德;以武入道是武术文化的终极意义。研究价值在于构建系统的武术文化深层分析体系,厘清内家拳丹道武学的机理,挖掘武术背后“道德直觉”的隐形文化式样,还原武术的原初文化精神和普世价值,促进国粹民粹的内化传承。     

欧洲早期滑雪运动发展社会动因及对我国的启示

摘要：成功申办2022年冬奥会以来,我国冰雪事业迎来重大发展契机,带动3亿人参与冰雪运动成为我国冬季运动发展的重要目标。采用文献资料法、历史分析法等研究方法,回顾欧洲早期滑雪运动发展的社会动因,是将滑雪运动置于整体社会发展环境中,对生产力、生产关系以及社会的需求等要素进行综合分析,其发展规律反映了生产力发展、精英引导、国家意志等因素的共同作用,体现了欧洲滑雪运动从贵族精英、健康观念形成向大众参与理念转变的发展历程。研究欧洲滑雪从少数人引领到大众参与的进程,将为我国滑雪运动大众化普及提供借鉴。分析认为：1）精英阶级对于滑雪运动的热情促成了滑雪俱乐部在欧洲的兴起,在满足休闲娱乐之余,有效地将滑雪运动与公民意识相结合,培养了社会大众对于资产阶级统治的认同感。2）军事滑雪运动的发展是滑雪运动实现精英阶级向大众推广的重要途径。一战前夕,各国滑雪部队建立,扩大了滑雪运动的参与范围,为国家军事滑雪人才奠定了基础。3）一战后,欧洲国家将滑雪运动引入学校课程体系。政府通过设置学校滑雪课程、降低滑雪价格、住宿、成本等方式鼓励青少年参与滑雪运动,打破了经济基础决定滑雪参与的局面,扩大了滑雪运动的参与群体。随着滑雪人数的增多,各国滑雪比赛逐渐增多推动了国际性滑雪组织建立,欧洲早期滑雪运动得以发展壮大。     

Culture without “world”: Australian cultural policy in the age of stupid

In March 2013, after six years of consultation, an Australian Labor government launched the national cultural policy document, Creative Australia. In July 2013, a Coalition government was elected, Senator George Brandis became Minister for the Arts, and the policy was dumped. With it went cross-party consensus about funding rationales and measurement strategies, with disastrous consequences for the cultural sector. This cautionary tale of gaffes, pay-back and abrupt changes of direction, highlights the fragility of policy memory that condemns artists and arts managers to a never-ending reinvention of the evidentiary wheel. Our paper examines the problem of collective understanding (“world”) in cultural policy-making in Australia, exacerbated not only by the short-term electoral cycles which undermine long-term cultural outcome timescales, but by a fixation on what Hannah Arendt calls “the peculiar and ingenious replacement of common sense with strict logicality”. Evidence of value is only meaningful when it occurs in a policy memory that can fully avow it and respond in appropriate ways. Measurement methods are over-determined by epistemology and by experience. We argue that the balance between these determinants of effective cultural policy-making has been lost. An emphasis on numerical data – especially economic data – has forced arguments for culture into a decontextualised register of quantitative proof. Recent events in Australia suggest that different, more direct ways of engaging with cultural policy-making are required for the problem of collective understanding to be successfully assayed.     

Accounting for quality: arts evaluation,public value and the case of “Culture counts”

Arts policy has a longstanding relationship with the concept of “quality” and the ways in which organisations measure, evaluate and account for it. Culture Counts, an evaluation system and digital platform, compiles data from standardised evaluation surveys of different stakeholder groups – organisations, audiences, critics, funders and peers – and provides the means to compare and triangulate data in an accessible format. As a result, it claims to provide a more effective, democratic tool for quality measurement of art, which demonstrates the public value of funding [Department of Culture and the Arts, & Knell, J. (2014). Public value measurement framework: Measuring the quality of the arts. Perth: Department of Culture and the Arts.]. Through qualitative research with two consortia of organisations involved in Culture Counts pilot projects in Manchester, England and Victoria, Australia, we explore these claims, comparing the reception and promotion of the system in both countries and considering its potential incorporation into policy assessment frameworks and adoption within arts organisations’ existing evaluation capacities.     

京津冀体育传统项目学校协同发展联动机制的研究

根据协同理论和机制设计理论,遵循动态性、务本性和创新性等原则,设计京津冀体育传统项目学校协同发展联动机制,据此进行案例设计与分析,旨在促进京津冀体育传统项目学校的协同、可持续发展。研究表明：①京津冀体育传统项目学校协同发展联动机制行为人包括京津冀体育传统项目学校协同发展委员会、京津冀体育传统项目学校协同发展小组和京津冀区域各体育传统项目学校,各司其职,履行各自的权利与义务;②其功能包括激励、制约和保障功能,三者相互作用、相互制约;③其形式与载体包括涉及激励标准和经费奖励的激励政策措施,涉及制度、程序和权利等的制约政策措施,涉及经费、师资和场馆的保障政策措施;④依据联动机制设计京津冀体育传统项目学校系列赛事和夏令营活动是促进协同发展的有效手段和途径。     

武术文化的主体间性辨释

"主体间性"通过对美学、文学等领域的考察,为我们分析武术文化提供了经验。从身体与精神、人与人、人与物、人与社会、人与自然等关系中认定了主体间性的存在,表现在"身心之和""人我之和""师徒之和""人与器和""武与政和""门派之和""天人之和"等多个层面。正是因为主体间性的存在, 才使辨证智慧的"和"思想在中国武术中得以实现。     

Arts participation and the three faces of time: A reflection on disentangling the impact of life stage,period and socialization on arts participation,exemplified by an analysis of the US arts audience

Arts participation bears the threefold imprint of time: people's life stage (age), their earlier socializing imprint (cohort) and the historical circumstances of the moment (period). A proper understanding of these three effects is of great importance in understanding the present and future sizes and preferences of arts audiences. Such understanding implies disentangling those three effects properly, rather than overlooking or confusing them. An example of how that might be done is presented here with regard to arts participation in the US.     

Cultural plan implementation and outcomes in Ontario,Canada

Since 2005 there has been a surge of cultural planning initiatives in Canada, especially in the Province of Ontario. However, very little research has been conducted in the more established cultural planning contexts of Australia, Great Britain and the United States let alone in Canada to support the assertions that underlie much of the movement's continued success. In particular, there has been an absence of research on the actual outcomes of the cultural planning strategy. This article examines whether the wide range of strategic goals presented in most cultural plans are being met. The method for assessing the effectiveness of cultural plans involved analyzing which strategic objectives were implemented as recorded in progress reports and as reported on by cultural planners. The research findings show that cultural plans are being effectively implemented and the majority of strategic goals contained within most cultural plans are being achieved. In addition, it is observed that the strategic objectives being implemented are not limited to traditional arts sector concerns.