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Britta Carlsson 《Scandinavian Journal of Educational Research》2013,57(2):125-143
This paper argues that photography is a helpful tool in understanding the ways people experience the world. Five arguments are presented in order to support this statement, each built on the methodological idea that respondents are asked to take, or produce, their own pictures related to a particular phenomenon under investigation. The arguments are: new unconventional methods enhance educational inquiry; photos can serve as communication bridges between strangers; photography makes it easier to represent a situation; photos can be regarded as complex expressions of the photographer's relation to the world; finally, photos enhance the expressing of feelings. These arguments are further discussed in the context of outcomes of a study, which used photography to probe ecological understanding. It is concluded that a deliberate use of the methodology will enhance not only the way photos might be used in research but also enrich educational research aiming at capturing the way people experience and relate to the world surrounding them. 相似文献
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王文明 《青海师范大学学报(哲学社会科学版)》2004,(6):79-82
王维在山水田园诗的创作中,其画理的运用所透现出来的美感,具有几个鲜明的特点:巧妙地组合特色画面,显示整体美;敏锐地捕声捉音,反衬静态美:娴熟地调粉舞墨,渲染色彩美;"多情"地引人入画,表抒志趣美。 相似文献
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汤春华 《沈阳教育学院学报》2003,5(4):45-48
王维是唐代“山水诗派”的最典型代表。本文采用分析对比等手法,结合诗歌创作理论,具体剖析了王维山水诗的艺术特质——诗中有画,画中有诗,并对这种独特艺术风格形成的原因作了一些分析和探讨。 相似文献
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Ricardo Marin‐Viadel Alicia Arias‐Camison Ana Varea 《The International Journal of Art & Design Education》2019,38(3):627-638
Social a/r/tography combines three dimensions of a/r/tography (artistic creation, education and research) incorporating a fourth collaborative, participatory community‐based approach. This ongoing project began in two primary and secondary schools located in the slums of Tegucigalpa, Honduras, as cooperative action for curricular development in art education. As participatory action, students created a mural drawing inspired by Sol Lewitt's wall drawings, as well as photo pairs on the theme of body and nature inspired by a lithograph by Uta Barth. The drawings and photographs created by the students in Honduras were presented at an event in the Exchange space of the Tate gallery in Liverpool as visual provocation for the creation of drawings and visual metaphors. The concept of visual dialogue, which we define as ‘to teach human beings to have visual conversations with other humans through the visual content of images’, helps us to consider images as questions which are answered with new images whose meaning is subsequently transformed in function of artistic, school and social contexts. 相似文献
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徐雪梅 《内蒙古师范大学学报(哲学社会科学版)》2004,33(3):66-68
杜甫是唐代大量写作题画诗的第一人。其题画马诗占其题画诗总数的五分之一。这些诗不仅表现出杜甫的精湛诗艺．而且反映了他的一系列绘画理论。他强调“写真论”,重要意义在于正确回答了艺术创作的源泉问题;注重“气韵”,达到“传神”的艺术境界;在诗中着意运用“烘托”来表现抒写对象。 相似文献
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Gang Sui 《The International Journal of Art & Design Education》2019,38(1):125-136
The artistic practices of ekphrasis and reverse ekphrasis – integrating poetry and painting in their unique forms – have been long‐standing conventions both in the East and in the West. This article attempts to rationalise the new functions of the age‐old concept of reverse ekphrasis (i.e. graphic representation of verbal representation) as reactivated for the purposes of today's university‐level art education, and as exemplified by the international workshops of poetry‐inspired Chinese brush painting that I taught at The University of Central Lancashire (UCLan), UK, from 2012 to 2016, using English not only as a convenient contact language for art education, but also as a powerful vehicle for poetic self‐reflection, intertextual adaptation and intermedial transformation. To be more concise, my teaching approaches featured CREATE – Contact (C), Reverse Ekphrasis (R, E), Adaptation (A), Transformation (T) and Enrichment (E). The international workshop participants’ creative painting outcomes proved that, as brush painters, they could draw inspiration effectively from poetry written in English and/or poetry translated into English, so as to increase their personal capacity for artistic self‐expression and intercultural communication through Chinese‐style brush painting. 相似文献
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时代基础的差别,形成陶与王田园诗风的差异;陶诗写躬耕生活感受和劳动中与农民建立起来的深情厚谊。王诗站在庄园主立场上,为寻求闲逸萧散情趣和静谧恬淡心境;陶诗真实写隐后穷困和农村荒凉萧败。王诗曲折隐晦反映农民生活贫困和社会黑暗;陶诗歌颂劳动,乐在田园。王诗描写大自然和农村静美及所生情趣,乐在山林;社会理想不同。艺术特色：陶诗主情。王诗主景;陶诗真率、淡美、平淡有味。王诗丰润、有生趣、诗情画意;陶诗恬淡中有旨趣。王诗澄澹,形神兼备,自我形象与外景完美融合;陶诗语言朴质、平淡、自然．为“田家语” 。王诗语言清秀精工、洗炼、朴素中润泽华采。 相似文献
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Amanda Fulford 《Educational theory》2016,66(4):519-534
In this paper Amanda Fulford addresses the issue of student writing in the university, and explores how the increasing dominance of outcome‐driven modes of learning and assessment is changing the understanding of what it is to write, what is expected of students in their writing, and how academic writing should best be supported. The starting point is the increasing use of what are termed “technologies” of writing — “handbooks” for students that address issues of academic writing — that systematize, and smooth the work of writing in, Fulford argues, an unhelpful way. This leads to a reconsideration of what it means to write in the university, and what it is to be a student who writes. Fulford explores etymologically the concept of “writing” and suggests that it might be seen metaphorically as physical labor. Writing as physical labor is explored further through the agricultural metaphors in Henry David Thoreau's Walden and through Stanley Cavell's reading of that text. In making a distinction between writing‐as‐plowing and writing‐as‐hoeing, Fulford argues that some technologies of writing deny voice rather than facilitate it, and she concludes by offering a number of suggestions for the teaching and learning of writing in the university that emphasize the value of being lost (in one's subject and one's work) and finding one's own way out. These “lessons” are illustrated with reference to Thoreau's text Walden and to American literature and film. 相似文献
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王念孙历来以小学名世；但他游历山水之间时，也曾吟咏放歌，所作《丁亥诗钞》，颇见功力。品味其诗，内容丰富多样，或叙述游历，或描绘景物，或感慨身世，或寄怀古人；艺术上则崇尚古体，追求自然。细加推敲，《丁亥诗钞》并非都写于丁亥年，且有存疑之处。 相似文献
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作为美国诗歌史上唯一可同华尔特·惠特曼相媲美的伟大诗人,狄金森的诗歌以想象丰富,意象奇特、艺术表现形式多种多样著称。从狄金森诗歌意象涉及最多的自然、情感、宗教入手,寻找其诗歌灵魂的吉光片羽,探寻这个敏感与敏锐的女诗人之魂。 相似文献
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写话教学要求激发学生写话兴趣并引导其掌握语言表达基本方法,借助文字表达思想。在核心素养教育的背景下,如何提高低年级绘本写话教学水平,成为语文教师的教学创新渠道之一。文章结合具体教学实践,从绘本的特点出发,结合学情提出绘本写话教学的新思路:图文并茂,强化语言建构;开放思维,搭建绘本写话桥梁;仿写续写,在迁移运用中实践提高。 相似文献
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周军 《海南师范大学学报(社会科学版)》2013,(9):19-24
在鱼目混杂、泥沙俱下的网络诗歌时代,横行胭脂作为当下博客诗歌写作中引人注意的一位女诗人,其坎坷的身世为其笔下诗歌铺上浓烈的冷峻笔调。她擅长女性视角的凝视获取独特生命体验。她的诗以口语化取胜,往往能在细碎生活场景的刻画之外找寻到新鲜的诗意。人生自省、爱情重构、民间情怀三个诗歌母题是其博客诗歌中的闪耀点。 相似文献
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我国明代诗人谢榛,在60余年的诗歌创作生涯中积累了丰富的艺术经验,在广泛的交游论争中发表了许多精辟的论诗见解,论著《诗家直说》集中地表达了他的诗歌美学理想。谢榛特别强调诗歌要气象浑成,努力追求自然全美的艺术境界;诗歌创作要表现真情,反对拙劣的模拟和矫饰造作;诗歌意象要外射张力,追求艺术与世界浑融互渗的美妙境界,表现出中国诗学的鲜明民族特色。 相似文献
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李煜和赵佶同为亡国之君和词人,有着相似的人生遭际和某些相似的情感,但他们的词在诸多方面都有着较大的差异。在艺术风格上,李词真率、自然,赵词富丽、工巧;在抒情方式上,李词纯情任性,深婉奔放,赵词蕴藉雅致,冲淡平和;在意境创造方面,李词清新明丽,疏朗开阔,赵词琐细绵密,凝涩幽晦;在亡国的致命打击下,李词是沉痛中的升华,赵词是凄惨后的销魂。所以李煜被称为＂词中之帝＂,而赵佶只是个爱做词的帝王。 相似文献
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朱静雅 《昆明师范高等专科学校学报》2011,(4):118-120,125
新闻摄影专版,是以几张到数十张的新闻图片来替代文字描述,达到信息传播目的的新闻报道形式,其也是目前报业媒体中常见的新闻报道形式之一。新闻摄影专版具有文字与图片统一、新闻性与艺术性统一、关联性与独立性统一的特点。为此,在实际工作中,就对摄影记者提出了如下要求：一要具备深度报道的能力;二要具备良好的文字功底和文字表达能力;三要提高自身的“版面”意识;四要杜绝“摆拍”恶习。 相似文献
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This article documents the authors' modification and implementation of anti-racist writing workshop (ARWW) practices in the context of an online, drop-in writing club, Pens Out. We sought to understand how teens perceive writing practices that are not white-normed — specifically, centring relationships instead of prizing individuality, embedding choice instead of replicating one authorial view and observing writerly craft instead of errors. As white-identifying educators and researchers, we engaged in practitioner inquiry to understand how programme participants who live in a predominately white region experience these practices. We asked: How do attendees understand and describe experiences with writing workshop pedagogies that seek to de-centre whiteness? This question has become increasingly important as politicians in the United States restrict anti-racist educational practices and content. We used conventional content analysis to observe themes across five participants' semi-structured interviews. Findings indicated that participants' relationships with each other produced inspiration and reciprocity, writing expectations from inside and outside the club affected choice and risk taking, and observing craft multimodally encouraged sharing and reciprocity. What we discovered can help teachers and leaders of K12 writing workshops implement ARWW practices and increase allyship while discussing and questioning hegemonic ideals in K12 schooling. 相似文献
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朱熹是南宋时期的思想家、教育家，也是诗人。美丽的武夷山水，给朱熹创作提供了灵感．数十年创作出大量的诗词作品，丰富了中华文化的宝库，也为武夷山水增添许多光彩。朱熹诗学之成就，值得后人研究。 相似文献
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乡土情结是文学创作的动力之一。王士性的山水诗作较多地表达对家乡的乡土之念,纵情讴歌家乡自然景致,梳理其中的人文意韵,流露出诗人的真情。出于描绘大自然山容水态的客观需要,艺术上也作了多方探索。王士性在前人的基础上进一步提升了山水诗文的艺术品格。 相似文献