CBL+CPL模式在教学中的研究与应用——以数据库原理与应用课程为例

本文以安徽新华学院数据库原理与应用课程为例,先分析传统的教学模式存在的问题,在分别研究案例式和任务驱动性教学模式的基础上,笔者提出将两种教学模式相结合,使得两种教学方式的优点更加明显,既完成本门课程的理论知识与实践应用的有机结合,又培养学生的创新能力、团队合作能力,有效地提高教学效果。     

高职院校“金课”建设的思考

"金课"是在现代质量观理念下诞生的产物,是现代社会标准化生产方式向教育领域的延伸。高职院校学生的来源更加丰富多元,更加需要高职院校认真研习"金课",把握高职课程规律,重视课堂教学。结合高职院校发展实际,从"健全课程建设制度、优化人才培养方案、打造优秀教学团队、优选精品课程教材、建设优质教学资源库"等方面提出了可供探索的路径。     

The differential effects of prior knowledge on learning: A study of two consecutive courses in earth sciences

We studied the occurrence and nature of learningin a university first year Introduction toGeomorphology course, and its relations with priorknowledge taught in a prerequisite course, and withthe prior knowledge in the to be learned subjects. Tendimensions of knowledge were tapped before and afterthe course by conventional and cognitive structuremeasures that were derived by the concept mappingmethodology. The fine-grain analysis of learningoutcomes yielded the following results: (a) studentsacquired only a small portion of the content in thecourse Introduction to Geomorphology, (b) the priorgeological and geomorphological knowledge did notaffect the learning of the new geomorphologicalcontents, (c) the minor effects appeared within ratherthan across knowledge dimensions, and they affectedmainly the learning of smaller knowledge units, and(d) concept definition cannot be considereda valid probe of knowledge. The differential effects of prior knowledge question thecentral, global and undifferentiated role that schematheories ascribe to prior knowledge in futurelearning. They call for greater reference to theexposed dimensions of knowledge by suggestingadditional factors to be considered in the sequencingof courses, as well as to the acquisition of complexknowledge with partial meaning of the basic knowledgeunits, and the use of new cognitive structure probesof knowledge.     

谈化学教学中问题的设计与创造性思维能力的培养

素质教育呼唤培养有创造力的学生，培养创造性思维的主阵地在课堂,合理有效的课堂教学问题设计对学生的创造性思维能力培养至关重要。     

Six into One: The Contradictory Art School Curriculum and how it Came About

This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.     

The Metamorphosis of Industrial Designers from Novices to Experts

Professional training for designers is crucial in the field of design studies. The characteristics of novices versus those of expert designers have been identified in the literature; however, studies exploring the issue of professional training processes in the actual workplace are not well developed. Our study addresses the topic by using qualitative research methods along with flexible design. Collected data from the interviewees with different work experience were analysed by open, axial and selective coding. Herein, we argue that the processes by which a designer transforms from a novice into an expert in the industry are constructed through the interaction of several complicated factors. The re‐learning inherent in design professions is implemented through knowledge transfer gained from participation in design projects, particularly regarding tacit knowledge. Also, the novice's process of learning and training yields the characteristics and skills that companies and firms require of designers; this process involves a series of disciplinary sub‐processes, from destructive to reconstructive, implemented by employers. In these sub‐processes, the subjectivity of designers is neglected, leading to the suppression of imaginative expression and feelings of alienation among these workers.     

芦荟美容的生物学原理

芦荟中的物质能保护和营养皮肤 ,除皱祛斑 ,恢复细胞活力 ,促进细胞再生 ,延缓皮肤衰老 ,有十分明显的美容作用     

运用计算机技术改革传统图学

本文就运用计算机辅助教学对高等工程专科学校机构制图课程的基本要求以及内容和新课程体系的建立进行了探讨。     

关于图案教学的一些思考

本文认为,中国现代设计教育中,有必要从基础图案教学开始,引导学生了解、积累有关中国传统艺术知识;要从传统图案入手,重点加强对其造型与色彩的临摹和运用,并进而培养学生想象设计的创造能力。此外,图案设计教学应适应时代,在图案的内容与形式的表现上,应是题材广泛,形式多样,手段齐全,表现能力全面,以适应和满足各类设计对图案的不同需求。