关于新批评和意识形态的几点思考

意识形态批评可以说是当今西方马克思主义文学批评、尤其是阿尔杜塞的结构主义—马克思主义学派首要的理论。二者在文学批评上各占一隅,新批评方法重视作品本体的内在研究,后者注重意识形态性。     

乡土审视与理性启蒙：阎连科乡条小说的批判主题探析

作为乡土小说家．阎连科注意以现代文明的眼光审视、批判乡土文明中愚昧落后的一面，表现在创作上．他通过对乡村畸形权力、病态性事、桎梏风俗等方面的描写与剖析，揭示了潜藏于民间日常生活中的人们习以为常的不易觉察的国民劣根性，表达了含蓄的批判主题，暗合了自鲁迅以来对国民奴性批判的传统，带有一定的理性启蒙精神，当然．作家在剖析与批判的力度与深度方面还有待加强     

中国当代文学理论批评40年

中国当代学理论批评史分为三个时期；化革命前十七年学理论的特点之一是许多学理论家以既清醒又混沌的心智为共同的思维特征和以社会学评论为主要方法；化革命结束后经历了从恢复期到蜕变期到收获期的发展阶段，初步出现了百家争鸣的局面。     

试述初中自然科学的说课艺术

说课能直接说出教学目的 ,体现教学意图 ;也能清晰体现出说课者的知识水平 ,业务素质 ;能深入分析教材 ,更能恰当地对教材作出配置     

论伊格尔顿后现代语境下的文化批评观

20世纪80年代后期以来,伊格尔顿一直关注文化研究.他站在马克思主义的立场上,娴熟地运用文化政治批评方法来剖析和批判后现代主义,深刻地表达了对文化危机的担忧.     

《大学英语》教学应重视"文化意识和语言艺术"

新版《大学英语》是一种以人为本的教材.如何有效地上好《大学英语》课,激发起非英语专业学生学习英语的兴趣,是许多公共英语课教师探讨的话题.在《大学英语》教学中如果重视“文化意识和语言艺术性”,就能极大地调动起非英语专业学生学习英语的积极性,改变课堂教学气氛,达到良好的教学效果.     

马相伯治校探微

马相伯是中国近代高等教育改革的先驱与开拓者 ,在其办学实践中 ,马相伯的独特的治校经验和高超的管理艺术 ,对深化当代高等教育改革管理仍然有着重要的启迪意义。     

新闻媒体避免名誉侵权应注意的几个问题

新闻媒体在履行新闻报道职能的过程屡屡发生名誉侵权现象,如何避免名誉侵权成为当前新闻媒体最为头疼的事情。实践中新闻媒体应该注意新闻报道真实、舆论监督正当、当事人同意、消息来源权威、善意批评和公正评论、配合特定机关履行职务等问题,切实发挥新闻媒体的监督报道作用。     

A Decline in Drawing Ability?

This research surveys changing attitudes to drawing pedagogy, in the context of digitisation, moves toward student‐centred learning in art & design higher education, and anecdotal reports of declining competence. Based on student, teacher and examiner’s experiences, it has been possible to gain insights into how drawing instruction has changed over the past generation. This article examines the attitudes, values and concerns of students and educators regarding drawing instruction. The study reveals that, in the UK, drawing skills are considered to be gradually declining, while traditional notions of skill are called into question. Drawing as a means of visual recording, representation and communication remains valued, although no longer essential as it once was; drawing to augment thought process is increasingly recognised as an integral skill which enables innovation. The latter is rarely ‘taught’ but relies on core competencies that many lecturers fear are being eroded. Increasing value is placed on drawing ‘as process’, as provision is moving towards individualised instruction requiring students to work independently. While new technologies are a factor, this article re‐frames the issue as an imbalance between creative outcomes and creative process, with a disparity between school and university levels. This article calls for a renewed emphasis on ‘drawing as process’ as preparation for university, and for further consideration of the core competencies underpinning the use of drawing as a tool of thought, and how these might be standardised.     

Creative Arts Personal Pedagogy vs Marketised Higher Education: A battle between values

The ongoing marketisation of higher education in England can be understood both conceptually – in terms of its ideological commitment to competition and accountability; and practically – in terms of the way that it has altered higher education structurally in a variety of ways. Methods of standardisation and quantification offer validation and reward to institutions through criteria aligned with marketised principles, leading to institutions shaping their operations to suit these forms of justification. Historically, many arts subjects have operated conceptually and organisationally outside the traditional higher education paradigm, and pedagogic approaches and values that are attributable to this subject area could clash with marketised understandings of education, which are becoming more prevalent and influential. This article presents analysis of reflections from creative arts educational practitioners working within higher education institutions in England on explorations of an ontology of the creative arts, as well as experiences of the marketisation process. A series of values relating to the concept of ‘the personal’, inherent to the creative arts are discussed and an exploration of how these principles clash with the priorities of the marketised educational economy are articulated. The values and principles that are inherent to educators and practitioners working in the creative arts are competing with ‘marketised’ motives imposed on them by the institutions in which they work.