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1.
汪曾祺先生在《大淖记事》中精妙地选择和运用叠音词和摹声词等修辞方式,不仅凸显了故乡高邮的地域色彩,而且在刻画人物、表现习俗、描绘情景中达到了出神入化的艺术境界。现从修辞艺术的角度,欣赏《大淖记事》中语音非常鲜明的修辞现象,学习修辞方法和技巧,更好地解读原著,作为今天写作的借鉴。 相似文献
2.
Tyler Denmead 《Educational theory》2019,69(2):225-240
In this article, Tyler Denmead draws upon critical race theory to argue that the creative city discourse reproduces racial injustice for youth. In particular, the creative city invests in the property rights and profitability of whiteness by inscribing creative superiority on the bodies of young people who are more likely to be privileged by virtue of their race and class. Through evidence collected by both autoethnographic and ethnographic methods, Denmead discusses how his history as an arts educator has been entangled in the manifestation of this racist reconfiguration of urban space in one particular American city, Providence, Rhode Island. He discovered that the racial dynamics of the creative city discourse have productive power over how young people construct their identities and make life choices in this city and, further, that those dynamics operate in and through artist partnerships between those positioned as creatives and those positioned as troubled youth. As a result, Denmead argues that white arts educators, in particular, must disinvest themselves from notions of creativity that enhance the profitability and power of whiteness. This move requires advocating ceding land and resources that have been acquired through the creative city discourse and committing to reframing culture‐led urban renewal in terms of the economic and creative flourishing of communities of color. 相似文献
3.
Ourania Kouvou 《The International Journal of Art & Design Education》2016,35(2):275-290
This report outlines the cognitive accomplishments of young children involved in graphic dialogue with adults. A token of collaborative drawing is examined exhibiting the degree to which adult informed tutoring enabled children in their drawing development, enhanced their motivation and ability in narration and resulted in drawings meaningful to them. The case studies examined are the result of a three‐year research project conducted by undergraduate students of Athens University Department of Early Childhood Education under the supervision of the author of this article. This game‐like pedagogical strategy is inspired by L. Vygotsky's educational philosophy and based on B. & M. Wilson's model of adult–child graphic dialogue. It is understood as a method of instructing drawing enabling children to pass from that which they can achieve alone to that which they can accomplish with adult assistance. This educational approach answers to a call for a more socially accountable art education addressing the child's need to deal with issues he encounters in his everyday life and as such is open to adult and cultural interference. A similar educational approach intends to challenge the long‐standing, non‐interventionist art educational theory also known as ‘child art’ and its contention that a prerequisite for a creative individual is expression free from social and adult influence. 相似文献
4.
文章通过对高加林形象的研究,分析了《人生》中的隐含作者对高加林悲剧命运的同情和关怀,对当时社会不正之风的尖锐批评。出于创作的功利目的,他在扮演一个青年生活指路人的角色的同时,站在肯定和维护城乡二元社会结构和体制的立场上,否定了高加林们通过个人奋斗实现自己理想的积极意义,甚至不惜让高加林违背自己的性格发展逻辑走上自我忏悔的道路来演绎自己的政治理念,其结果是使作品的思想和艺术价值都受到极大的损害。 相似文献
5.
Paul Duncum 《The International Journal of Art & Design Education》2007,26(3):285-295
While rejecting modernist philosophical aesthetics, the author argues for the use in art education of a current, ordinary‐language definition of aesthetics as visual appearance and effect, and its widespread use in many diverse cultural sites is demonstrated. Employing such a site‐specific use of aesthetics enables art education to more clearly address the realities of everyday life under designer capitalism, a socio‐economy based on the drive to create evermore desire. Aesthetic manipulation is viewed as a primary means to facilitate the smooth operation of this system. The recent craze for Bratz dolls is used to illustrate the centrality of aesthetics to designer capitalism. Finally, the author offers suggestions as to how art education can view consumer products like Bratz as pedagogic opportunities. 相似文献
6.
作为中国古典美学的集大成者,刘熙载在理论上格外重视辞赋创作主体的活动,从赋家的创作心理、创作过程到赋家自身的人格修养和魅力,都有独到的论述。对人品的重视折射出刘熙载儒家功利性的文艺观。 相似文献
7.
阿提克木·马木提 《新疆大学学报(哲学社会科学维文版)》2011,(3):109-112
2010年的诺贝尔文学奖给予了秘鲁作家马里奥·巴尔加斯·略萨。反传统的、复杂的生括经验、对文学的高度的兴趣、超越时空的特殊的政治观念是形成略萨的创作观念的基础。对自己生活的地方持有流氓之感,对自己的作品附加极高的自由主义思想,督查并介入社会现实是反映略萨的创作观念的要点。本文中,笔者从以上的要点入手对略萨及共创作观念进行简要的分析． 相似文献
8.
Nadine Kalin Kit Grauer Jill Baird Cheryl Meszaros 《The International Journal of Art & Design Education》2007,26(2):199-205
This article outlines art education courses undertaken in museum and gallery contexts as a component of the Certificate Programme in Visual and Material Culture within the University of British Columbia's Department of Curriculum Studies. With the creation of this programme and through the forging of relationships with area museums, unique ways have evolved for graduate students from diverse areas of education and art teacher education candidates to interact with works of art, museum professionals, artists, and the museum space itself. The purpose of these courses is to use museum and gallery settings as sites to test ideas, critique educational programmes, and advance new approaches for teachers to use museums in more creative and integrated ways in their teaching while expanding theoretical knowledge and interpretive repertoires. Through participating in this collaborative venture we have learned that when you invite teachers into museums, make efforts to increase their comfort within these spaces, while recognising what interpretive insights they offer as active participants in museum discourses, points of convergence between teachers, universities, and museums are formed. 相似文献
9.
Erica Rosenfeld Halverson 《学习科学杂志》2013,22(1):121-162
In this article I bring artistic production into the learning sciences conversation by using the production of representations as a bridging concept between art making and the new literacies. Through case studies with 4 youth media arts organizations across the United States I ask how organizations structure the process of producing autobiographical digital art through a focus on representational tasks and how learning can be traced by examining youth artists' representations over time. Using a distributed cognition framework I analyze data on the process of making digital art in terms of the macro and micro tasks performed in order to identify occasions for external representation construction and use across organizations. I then examine how individual youth engage in these macro and micro tasks by producing representations that demonstrate their understanding. These analyses show that youth media arts organization production processes engage young artists in a representational trajectory that begins with developing a story about the self, moves toward a focus on how the tools of the medium afford representation of that story, and culminates in digital representations that reflect an understanding of the relationship between story and tools. 相似文献
10.
Alon Friedman 《Technology, Pedagogy and Education》2018,27(2):135-148
Growing interest in Big Data is leading industries, academics and governments to accelerate Big Data research. However, how teachers should teach Big Data has not been fully examined. This article suggests criteria for redesigning Big Data syllabi in public and private degree-awarding higher education establishments. The author conducted a survey of 35 Big Data syllabi across different academic institutions in the USA using Palmer, Bach, and Streifer’s rubric criteria. The role of syllabi in higher education has an established tradition in summarising topics covered in a single course and textbook, and in referencing the instructor’s resources. Yet, despite the central role of course resources, the present study did not find a common textbook. The majority of resources referenced were academic articles and blog postings used by the instructors and other professionals in the field. Based on Palmer et al.’s score rubric, this study found that many of the syllabi broke down the main ideas of Big Data into smaller content items using interpretations of the instructor’s subject knowledge. The study recommends that Big Data instructors need to provide a better breakdown of each component of the syllabus to reflect a clear understanding of grades and resources available on the subject. Future studies also need to examine students’ expectations of those classes. 相似文献
11.
There is a growing cultural and social movement among youth who draw on spoken word poetry and documentary style videos to participate in the new media landscape. Many multimedia poems have appeared on social media sites such as YouTube and Vimeo as a form of participatory politics. In this article, the author takes up a discussion of translocal practices and ‘translocal assemblage’ wherein individuals and groups engage in the exchange of ideas across space and time. One example is a multimedia poem about the underrepresentation and invisibility of racialized minority students at a major American university. This viral multimedia poem remixed elsewhere based on students’ experiences at another university demonstrates not only the potential of translocal assemblage in participatory politics but also the practice of alternative media in the movement toward racial justice. That is, young people are finding civic resources and building on each other’s work to challenge the social order. Pedagogically, the author built on the theoretical underpinning of translocal assemblage to shape work with students in the college classroom who, in turn, produced other genres of alternative media. The resultant video documentaries about locally unjust social arrangements make evident the subtle nature of cultural flows that have direct consequences for critical studies in education. 相似文献
12.
Educational borderlands are the physical and/or conceptual landscapes where one must negotiate notions of cultural difference as she or he lives and learns—landscapes that envelop an array of pedagogical and cultural spaces, yet are typically guarded by exclusionary tactics. In this article, we examine how US immigrant youth navigate three educational borderlands: the geopolitical, institutional, and home community. We also discuss how educators’ biased ideologies and actions towards these youth solidify borders and increase inequity. Data from studies of California and North Carolina school communities allow us to extend border crossing theories and address how many immigrant youth confront and resist inequities, negotiate their cultural identities, and enact agency. While emphasizing that borderlands are sites of risk and transformation, we also suggest how educators can draw upon their relative power and privilege to cross borders too, advocate for immigrant youth, and ultimately improve education. 相似文献
13.
裴东 《漯河职业技术学院学报》2009,8(4):163-164
作为维也纳古典吉他音乐运动的中心人物,朱利亚尼具有鲜明的创作个性。他的古典吉他音乐作品具有澎湃的激情和宏伟的气势,他的演奏风格同创作一样明快洒脱,豪迈奔放。《大序曲》则是他创作与演奏风格融为一体的代表作。 相似文献
14.
周忠厚 《黄河科技大学学报》2001,3(1):74-80
对于学艺术创作来说，使用什么创作方法是至关重要的问题。然而，关于创作方法，简直是人言言殊，莫衷一是。我们从创作方法概念的历史演变和内涵说明创作方法不是原则、精神、思潮、流派、风格、美学体系等，而只能实事求是地把创作方法理解为创作的方法；从系统论的角度看，创作方法就是作家艺术家所使用的艺术方法的体系、系统。 相似文献
15.
本立足郭沫若的诗歌创作，从郭沫若接受外国学影响的可能性与现实性，早期泛神论哲学思想和浪漫主义艺观的形成，外国学影响在郭沫若诗歌创作中的具体体现三方面，思考，探究来自异域的哲学，学营养是如何被这位中国现代诗人所吸收，消化，综合进而产生新的创造的。 相似文献
16.
Iouri Gribov 《High Ability Studies》1992,3(1):6-14
The problem of defence and development of the creative and humanistic potential of human beings (as a problem of psychoecology) is discussed in the context of brain hemispheric asymmetry. Data from experiments (drawing and writing with the right and left hand, their interference with solving of mathematical tasks) show simple practical methods for the facilitation of nonverbal creative self‐realisation in art. The nature of aesthetic feeling and its connection with creative psychic states is discussed in this context. Research (creative work of pupils aged 7‐11 in art) shows that the unconscious collective hostility of traditionally educated children to creative self‐expression increases with age, and that there is a high correlation of creative activity with ambidextrousness. A broad psychoecological program is proposed on the basis of the data. 相似文献
17.
周光远 《佳木斯教育学院学报》2012,(5):110-111
勃拉姆斯是浪漫主义时期具有反潮流倾向的音乐家,在他的艺术歌曲的创作中叶有着相当的复杂性,即在古典的精致形式中饱含浪漫主义情怀。勃拉姆斯艺术歌曲的演唱,需要演唱者对作品要有深刻的了解,分析作品的民族特色和创作风格,进行艺术化的处理。本文即以此为视角,对他的艺术作品做综合的论述。 相似文献
18.
Daniel T. Barney 《The International Journal of Art & Design Education》2019,38(3):618-626
A/r/tography is often considered to be an arts and education practice‐based research methodology, but this author explores a/r/tography as a pedagogical strategy that has informed the author's artistic practice and pedagogical experiments. The author tracks his own journey of entering into an a/r/trographic world and where that entering has positioned him as an artist and educator and then moves on to speculate a possible arts education as his a/r/tography contorts into conceptual doings. Walking is used as a concept, as a process or method to generate more concepts, and as an art form with pedagogical potential within several undergraduate and one graduate course at the author's university. The author also investigates alongside or in concert with the courses he gives. The author equates artistic concepts, like walking, with theoretical and philosophical arguments, assertions and propositions. Artistic processes are equated with methods and methodological concerns, even though these systems of inquiry and knowing may be idiosyncratic in artistic inquiry. And finally, an art form can be understood in research terms as a type of research product or creation, that can be an event, performance, or a continuation of these as write ups or presentations, that are shared with the general or a particular public. 相似文献
19.
Will Grant 《The International Journal of Art & Design Education》2020,39(1):56-68
Modern liberal rationales continue to inform a majority of teaching and learning in English art classrooms. In a postmodern Western society increasingly informed by neoliberal globalisation this approach begins to look either like an anachronism or an act of outmoded pedagogic resistance. What is certain is that the modern liberal tradition is increasingly irrelevant to a young generation of learners, but while alternative paradigms have subsequently been suggested none have come to replace the stubbornly established rationales of modernism and liberalism. This article suggests novel futures for the justification and relevance of art education that move beyond those currently prevalent. Preferable futures are suggested that synthesise postmodern practice with liberal ideals in a paradox requiring creative consideration. While the difficulties of drawing upon such contradictory rationales are noted, a case is made that if such a purpose might be accepted and imbedded in art educational futures, then there may result a more relevant and sustainable future for art education in England. 相似文献
20.
Erica Rosenfeld Halverson Damiana Gibbons Shelby Copeland Alon Andrews Belen Hernando Llorens Michelle B. Bass 《Learning, Media and Technology》2014,39(3):386-403
In this article, we explore how youth audiences evaluate the quality of youth-produced films. Our interest stems from a dearth of ways to measure the quality of what youth produce in artistic production processes. As a result, making art in formal learning settings devolves into either romanticized creativity or instrumental work to improve skills in core content areas. We conducted focus groups with 38 youth participants where they viewed four different films produced by the same youth media arts organization that works with young people to produce short-form, autobiographical documentaries. We found that youth focused their evaluations on identifying the films' genre and content and on assessing how well the filmmakers' creative decisions fit with identifications of genre and content. Evaluations were mediated by audiences' expectations and seemed to inform judgments of quality and creativity. We hope that our work can inform the design of formal learning spaces where young people are producing narrative art. 相似文献