基于OBE理念,构建通识教育课程教学与评估体系——以清华大学为例

国内高校积极探索实现通识教育的路径已有多年,但其效果在一定程度上仍然受到质疑。课程是实现通识教育的主要载体,清华大学在探索构建通识教育课程体系过程中,尝试性地采用了工科教育中广泛使用的成效基准教育理念与能力导向课程设计来分析当前我国大学通识教育的课程建设,指出通识教育众课程与通识教育目标之间欠缺逻辑对应的普遍性问题。本文重点介绍了清华大学通识教育课程建设中的困惑和设想,探讨了如何锚定与对应课程与能力目标之间的逻辑关系。本文建议高校在通识教育初建阶段将引入OBE框架以及能力导向课程设计理念可作为一种选择,此举有助于厘清大学通识教育在本科教育中的定位与通识课程之间的逻辑和结构关系。     

麻省理工学院新工程教育改革的形成、内容及内在逻辑

麻省理工学院进行的三次工程教育改革举世瞩目。2017年8月,该校启动了新一轮工程教育改革,其宗旨是培养能够引领未来产业发展的领导型工科人才,改革的内容涵盖工程教育的出发点、重心、教学方式和发展方向,体现出多重逻辑:从现实到未来的取向,从学科和心理的分离到整合,从学科隔离到跨学科合作,从工程实践的回归到工程教育育人本质的回归等。虽然此次改革仍存在质量保障及认证等方面的问题,但大胆创新的麻省理工精神却再次引发各国关注。该校能否以此改革契机,开启第四次工程教育改革新时代,引领世界高等工程教育发展的新方向,成了举世关注的焦点。     

哈佛大学工学院发展战略及其对新工科建设的启示

哈佛大学自2007年重建工程与应用科学学院以来,采取了与传统工程学科大相径庭的发展路径,以解决人类面临重大挑战的前沿科学为重点发展方向,以机制保障为学科交叉融合提供土壤,以空间优化调整助力研究、孵化、成果转化一体化发展,取得了显著成绩。哈佛大学工学院发展路径正体现了新工科建设思路,对我国高校加快建设发展新工科,推动学科深度交叉融合,优化调整空间布局,服务科研创新、成果转化等具有重要启示。     

学术期刊融合新媒体需要解决的关键问题

大多数学术期刊与新媒体融合的效果不理想.通过文献及实际调查研究学术期刊新媒体的规模,总结、归纳存在的主要问题,分析导致学术期刊新媒体关注度低、互动性差、推送频率低的原因.提出实现学术期刊与新媒体深度融合需要解决的几个关键性问题: 科学谋划,合理定位新媒体; 加强内容建设,凸显平台特色; 打破技术壁垒,培养新媒体人才; 探索、创新媒体融合模式; 建立客观的学术期刊新媒体影响力评价标准.     

新课改背景下教师权威的消解与重构

随着新课程改革的不断推进，教师权威受到严峻的挑战。教师权威的存在是客观且有其合理性的。新课程消解了教师的知识权威、传统权威和法定权威。重建教师权威，需要从转换教师角色、改善知能结构、完善人格等几个方面着手。     

Suggestions for the "Integration in Multiple Certificates" Curriculum System Construction

Business English professional "Integration in Multiple Certificates" refers to these two kinds of certificates——a diploma and vocational certificates. Business English curriculum design unified vocational qualification certificate with professional training objectives. Basis on the meeting of requirements of certificates for graduation, making professional training contents, curriculum,teaching methods together with vocational training and the requirements of professional qualification certificates.     

试论新增专业文献建设的困境及其对策

文献信息建设是高校教育特别是新增专业建设和发展的重要内容，也是其三大支撑性要素之一，而我国各个院校都面临着新增专业学科文献信息建设明显不足和失措的困境．这种普遍性状况源于新增专业学科文献信息建设中先天性、源头性、境遇性、制度性和主体性等一系列相互关联的因素．各院校图书馆应该坚持对策性原则，加强新增专业文献信息建设，以走出目前的困境并推进新增专业的学科发展．     

Finding the common ground: Teachers' and employers' representations of English in an assessment context

There has been a long‐standing debate about how ‘English’ can be defined. Educational policy changes have typically been driven by differing representations of the subject, and have ranged from broad ‘aesthetic’ definitions to more narrow ‘functional’ views. The present study aims to analyse areas of consensus and contention in stakeholders' discourse regarding English. A questionnaire‐based survey and focus groups were used to explore how teachers and employers viewed English as a subject. Their views were conceptualised into three themes: the importance of functional English; English as atomistic versus holistic study; and English as critical thought. These themes are discussed in relation to historical definitions of ‘English’, and their implications for the future reform of English qualifications.     

我国体育行政执法方式改革研究

新时代对体育强国和体育法治建设提出了新要求，行政执法作为体育强国建设的重要抓手也面临着方式革新的机遇和挑战。简政放权背景下，体育执法面临着“应不应该管、怎样管”的尴尬处境，广为体育行政执法主体运用的强制性执法手段极易加剧执法矛盾，执法的社会效果得不到保障。由于传统执法方式难以适应新时代体育市场监管的现实需要，革新体育行政执法方式就显得尤为必要。面对时代课题，应遵照由“形式优化”到“实质革新”的逻辑，并树立行政平衡、服务合作和正当程序的理念，从引入信用工具、推广非强制性执法和全程说理式执法3个方面推进改革，实现体育行政执法方式的精简化、多元化和法治化。     

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.