太极拳教学新探索

太极，无极而生，阴阳之母也。太极是体，阴阳是体中之气。拳，权也，所以权物而知其轻重也。太极拳教学中，要树立健康观，根据大学生的生理、心理和社会适应能力，依据技能动作的掌握特点和形成过程，运用电化直观教学、表象训练，多种启发等教学方法，激发、引导学生学好太极拳。     

What is the Australian National Maritime Museum Ilma collection?

ABSTRACT

The Australian National Maritime Museum (ANMM) in their Darling Harbour warehouse store just over one thousand Ilma. The Ilma are performance symbols of Bardi law and custom, which tell stories of the lands and seas of the Dampier Peninsula, King Sound and surrounding islands of Western Australia. Ilma performances are public and meant for all to see. The ANMM in 2007 resourced detailed documentation of the collection. In 2018 the collection still does not appear on the online catalogue and remains unavailable for public view. While recent efforts have been put into the collection there are important questions to be raised about the responsibility of museums to collections that have contested meanings and serve multiple purposes.     

实施现代远程教育工程改变四川民族地区教育面貌

地处“西部中的西部”的四川省民族地区的教育,由于社会经济发展滞后、教育资源及结构的缺失等深刻的历史、现实因素所造成的落后现状,在西部大开发实施追赶型、跨越式发展战略的今天,成为一个无法回避的制约“瓶颈”。新旧世纪交替期勃然兴起的现代远程教育,以其费省效宏、资源共享、快速弥合差距等优势,成为变革民族地区教育面貌的“利器”。本文据此探讨了以广播电视大学为代表的四川远程教育在这一变革中的基本思路、重要的基础性工作及其实践。     

《石钟山记》中的科学方法探微

《石钟山记》是一篇严谨的科学研究论文,其中含有丰富的科学方法论思想。苏轼在探求石钟山为何“声如洪钟”的原因过程中,以及对他人观点的反驳中,多次使用了探求因果关系的科学方法,这些方法即19世纪英国人穆勒总结的“穆勒五法”。     

舆论引导：《云南日报》滇缅抗战新闻报道的议程设置策略

一直以来,学术界对于滇缅抗战研究的重视度远低于国内抗日战场,且角度较为单一。从民国时期《云南日报》的相关新闻报道出发,用新闻传播学的视野来观察新闻报道历史文本,探讨该报关于滇缅抗战新闻报道的议程设置策略对当今多元化思潮背景下主流意识形态如何引导舆论、掌握话语主导权的启示。     

Planting virtual lemons: performing forest protection in the context of political performativity

The socialist People’s Democratic Republic of Laos (Lao PDR) has some of the largest intact forests in Southeast Asia, yet these are being quickly depleted by illegal logging, slash-and-burn farming, increasing population pressures, monocrop plantations, mining and dam building. Foreign government and nongovernmental organizations stage “infotainment” theatre plays to educate and inform the Lao public of its role in protecting the forests even though government projects and concessions are the primary causes of forest destruction. Because all the nationally subsidized performing arts troupes are government mouthpieces they cannot critique the government’s role. Foreign aid agencies funding the dramas are also made complicit in the hypocrisy of promoting forest protection to those with the least power to do so, while both performers and spectators know who is profiting the most from the sale of forest products. This article examines theatrical performances regarding forest protection presented in this context of performativity in which the state manipulates socialist rhetoric to conceal its actions that enrich its officials and capitalist partners at the expense of the rest of the Lao public.     

Measuring the value of theatre for Tyneside audiences

What values do theatre and dance hold for audience members? And how do these values differ between subsidised, amateur, and commercial performance? This paper addresses these questions through a survey of over 1800 spectators for theatre and dance in Tyneside in northeastern England, as well as a parallel set of focus groups, in the spring of 2014. These methods, which are designed for comprehensiveness and comparability, are being used across Europe by the Project on European Theatre Systems, a working group of theatre sociologists. Our research showed two sets of values which performances achieved; one was a common measure of performance quality, while the other described the values particular to subsidised work. This allows us to articulate both the general value of the arts and the particular values which subsidy (attempts to) facilitate. This has implications for both understandings of cultural value and for cultural policy, as the distinction between the two groups was not clean. We also found that amateur theatre participated in the same value system, but with an increased emphasis on loyalty and community cohesion. The paper concludes a methodological reflection on the use of quantitative methods in theatre studies.     

Powerful devices: how teens' smartphones disrupt power in the theatre,classroom and beyond

During a series of high school English and Drama class trips to the theatre, so many students were online, the entire back row often glowed blue. Although much of the literature suggests that information and communication technologies are benign and neutral, this back-row collision of digital and live culture signals to teachers that technology is freighted with issues of power: questions of identity formation, consumerism, autonomy and freedom. This qualitative study of high school students at the conclusion of their four-play series suggests that cell phones shape the youth audience experience, that etiquette regarding the use of these powerful devices remains sharply contested, and that students apply a range of strategies to dealing with issues of power and agency around their use.     

探微我国生产关系的调整与经济体制改革

马克思关于人类社会基本矛盾运动的规律提示了生产关系在生产力发展中的核心地位,我国建国后经济发展经历了前后两个30年,生产力所以取得如此巨大的成就,就在于新的生产关系的建立和根据生产力发展的要求,不断调整和改革生产关系。今天,我国又面临新的经济发展周期,继续深化改革,仍是我们面临的紧迫任务。     

To be genuine in artificial circumstances: evaluating the theatre analogy for understanding teachers’ workplace and work

This paper provides teachers and teacher educators with food for thought by developing a broad, contemporary re-evaluation of the often-used analogy between teaching and the theatre. It does so by synthesizing insights from scholarly works in education with insights from writing about theatre, including both historical work and published interviews with practicing stage actors. This approach throws into relief particular ways in which teaching does and does not resemble acting as described by its present-day practitioners. A key parallel is observed between the central challenges faced by teachers and actors: acting requires being truthful in imaginary circumstances, while teaching requires being genuine in artificial circumstances. Using work on bildung, the nature of this challenge is examined, and a call is made to help teachers and students better appreciate the intimate, reciprocal and shared nature of good teaching – a challenge in a culture where corporate interests aggressively promote personalized and “anytime, anywhere” learning. The paper also addresses the phenomenon of massive online courses, which enthusiasts like to believe teach themselves. This idea, I suggest, is as absurd as the notion that a great theatre building could obviate the need for a strong cast. .