加强对大学英语学习弱势群体的关注

本文把第四学期CET - 4成绩在 4 9.5分以下的非英语专业本科生称为大学英语学习的弱势群体。统计了这部分学生的数量 ;分析了这个群体产生和形成的主要原因 ;提出了帮助这部分学生走出英语学习困境的建议以及改变现状的具体措施。     

试论北京申奥所体现的当代中华民族精神

北京申奥成功是两岸三地和全世界华人团结奋斗的胜利。结合北京申奥历程回顾,分析和研究了北京申奥中所展现的中华民族的当代民族精神。强调了众志成城所产生的当代中华民族空前的民族凝聚力,指出违背中华民族当代民族精神的“台独”分裂行径的必败下场。     

Museums and the shaping of contemporary artworks

In the museum context, curators and conservators often play a role in shaping the nature of contemporary artworks. Before, during and after the acquisition of an art object, curators and conservators engage in dialogue with the artist about how the object should be exhibited and conserved. As a part of this dialogue, the artist may express specifications for the display and conservation of the object, thereby fixing characteristics of the artwork that were previously left open. This process can make a significant difference to the visual appearance of the work, the nature of the audience's experience, and how the work should be interpreted. I present several case studies in which the nature of the artwork has been shaped by such dialogues, and discuss principles for resolving cases in which there is a conflict between instructions specified by the artist and those adopted by the museum.     

The Ephemeral,the Essential and the Material in the Conservation of Contemporary Art: Decision-Making for the Conservation of a Work of Art Made with Butterfly Wings

This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state.     

近代与当代小报话语之转变——以兰州市小报为例

晚清民国时期，中国的小报繁盛。小报不论是在发行量上，还是对整个社会的影响力方面都起到了当时大报不可取代的作用，而当下小报不仅种类繁多，而且在发行、销量、社会影响方面也越发呈现出不俗的表现。在这两个阶段中，小报为什么能够在强势大报中争得自己的一席空间，原因在于小报在整个报业产业中，以其独特的发声方式，有别于主流大报的话语...     

Exploring Verbal,Visual and Schematic Learners' Static and Dynamic Mental Images of Scientific Species and Processes in Relation to Their Spatial Ability

The current study compared different learners’ static and dynamic mental images of unseen scientific species and processes in relation to their spatial ability. Learners were classified into verbal, visual and schematic. Dynamic images were classified into: appearing/disappearing, linear-movement, and rotation. Two types of scientific entities and their related processes were investigated: astronomical and microscopic. The sample included 79 female students from Grades 9 and 10. For the purpose of the study, three instruments were used. The Mental Images by Guided Imagery instrument was designed to investigate participants' visualization of static and dynamic mental images. The Water-Level Task was adopted to estimate participants' spatial ability. The Learning Styles Inventory was used to classify participants into verbal, visual and schematic learners. The research findings suggest that schematic learners outperformed verbal and visual learners in their spatial ability. They also outperformed them in their vividness of microscopic images; both micro-static and micro-dynamic images; especially in the case of appearing/disappearing images. The differences were not significant in the case of astronomical images. The results also indicate that appearing/disappearing images received the least vividness scores for all three types of learners.     

Evaluating Growth for ELL Students: Implications for Accountability Policies

In recent years, many U.S. states have introduced growth models as part of their educational accountability systems. Although the validity of growth‐based accountability models has been evaluated for the general population, the impact of those models for English language learner (ELL) students, a growing segment of the student population, has not received sufficient attention. We evaluated three commonly used growth models: value tables or transition matrices, projection models, and student growth percentiles (SGP). The value table model identified more ELL students as on track to proficiency, but with lower accuracy for ELL students. The projection and SGP models were more accurate overall, but classified the fewest ELL students as on track and were less likely to identify ELL students who would later be proficient. We found that each model had significant trade‐offs in terms of the decisions made for ELL students. These findings should be replicated in additional state contexts and considered in the development of future growth‐based accountability policies.     

传统概念问题的当代形式逻辑剖析

尽管传统形式逻辑在概念问题上不研究大于1的n元名词而只研究仅占n分之1的1元名词，可是在这n分之1的研究中仍然存在着不少缺陷。譬如，关于概念的定义至今仍不能自圆其说；有些概念种类划分不合理；给概念内涵下的定义产生歧义；给普遍概念下的定义过宽；等等。传统形式逻辑是真正的逻辑科学，我们剖析的目的是深深地切望传统形式逻辑深刻正确的主导思想和久胜不衰的理论成果得到发扬光大。     

The Artist Initiative at San Francisco Museum of Modern Art

The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.