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Mary A. Anderson Frank Bowles C. O. Taiwo Jan D. Beckmann L. J. Lewis James R. Liesch Godfrey N. Brown H. L. Elvin Shib K. Mitra Richard F. Behrendt Graeme Kemelfield Hugh W. R. Hawes W. A. Dodd A. L. Tibawi 《International Review of Education/Internationale Zeitschrift für Erziehungswissenschaft/Revue internationale l'éducation》1971,17(2):220-251
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This study examined attentional processes underlying skilled motor performance in threatening situations. Twenty-four trained participants performed a simulated rally driving task under conditions designed either to direct the focus of attention toward the explicit monitoring of driving or a distracting secondary task. Performance (lap time) was compared with a "driving only" control condition. Each condition was completed under nonevaluative and evaluative instructional sets designed to manipulate anxiety. Mental effort was indexed by self-report and dual-task performance measures. The results showed little change in performance in the high-threat explicit monitoring task condition, compared with either the low-threat or the high-threat distraction conditions. Mental effort increased, however, in all high- as opposed to low-threat conditions. Performance effectiveness was therefore maintained under threat although this was at the expense of reduced processing efficiency. The results provide stronger support for the predictions of processing efficiency theory than self-focus theories of choking. 相似文献
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Nick Owen 《English in Education》2007,41(2):27-43
The paper proposes a thought experiment written in the spirit of Tom Stoppard's Travesties in which some major contemporary thinkers on and actors of creativity and culture are brought together in the same imagined space through the conceit of a (faulty) memory play. ‘Actors’ are drawn from the National Advisory Committee on Creative and Cultural Education (NACCCE, 19991, the Gulbenkian Committee (1981) and the Joint Council for Education through Art (1957). The paper suggests a series of hypothetical conversations between educationalists from the 1950s to the 2000s who have been engaged with developing arts and cultural education and creativity in our schools. It aims to establish what we have learnt about the discourses of creativity ‐ and what impact this may have had in our classrooms. It concludes with a speculative trial between a Professor Ken Robinson of 1999, adjudged by a Sir Herbert Read of 1957. Nick Owen is a Liverpool‐based film maker and researcher who has recently completed a PhD scholarship at the University of Hull. The scholarship, funded by Creative Partnerships, focused on developing pedagogies for creativity in contexts in which artists and educators work together. 相似文献