后现代转向:我国后现代教育研究近30年回顾与反思——以中国期刊网录入论文为例   总被引：1，自引：0，他引：1  

周险峰 《比较教育研究》2010,(2)

后现代教育研究在我国大陆有近30年的历史,大致经过20世纪80年代的尝试期、90年代的持续发展期以及21世纪初近10年的高涨期。我国后现代教育研究的节律深受哲学社会科学思潮的影响,其研究主体主要是中青年学者群体,从研究旨趣看,我国后现代教育研究表现出比较明显的实践关怀意识,近30年来,我国后现代教育研究经历了一条由引进、介绍到本土化尝试的内在发展轨迹。  相似文献   

后现代主义、数学观与数学教育   总被引：6，自引：0，他引：6  

谢明初 《教育研究》2005,26(12):66-71

后现代主义的影响已从人文学科转到自然学科。作为人类知识典范的数学也受到这个思潮的冲击,不仅数学哲学观正在发生相应的转变,而且数学教育也表现出明显的后现代思维的特点。后现代主义的这种影响既有积极意义也有消极影响。对西方这一思潮进行分析与批判,可以为我国新一轮数学课程改革发展提供有益的借鉴。  相似文献   

后现代知识观与现代大学制度的变革   总被引：3，自引：0，他引：3  

朴雪涛 《复旦教育论坛》2006,4(6):29-32

现代大学制度合法性的理论前提是现代知识观的存在。后现代知识观的兴起对现代大学制度产生了深刻的影响,现代大学制度的核心内容开始发生结构性的变革。探讨后现代知识观对现代大学制度的影响,为探讨现代大学制度变革提供了一个崭新的视角。  相似文献   

Ideologies in Korean Children's TV: A Culture in Transition in a Postmodern Period     

Hae-Ryung Yeu 《Interchange》1999,30(1):57-72

This paper outlines the clash between tradition and postmodernization in Korean popular culture today and discloses the ideological aspects of dominant cultural streams. Among many cultural artifacts, children's educational TV programs serve as texts to effectively reflect the problematic conflicts seen in the recent cultural mood. Under the smooth flow of overt TV program messages, different streams of thought and many forms of knowing, and attitudes toward the world are interwoven with each other. The most distinctive phenomena are the cultural confusions among the streams of premodern, modern, and postmodern thoughts. They reveal the ideological aspects in the nostalgic teaching of important rules of the past, the intellectual aspiration for a modern epistemology of certainty, and the epistemological, aesthetical, and ethical dissonances among different generations even within a person. Perhaps this is the typical phenomena that most Third World countries now share. The article concludes with the suggestion that the effort for postmodern pedagogy should be made through exploring the later-penetrating logic between the new and the old and thoughtfully mediating the differences. This is important, especially in Korea, where many indigenous and imported streams of thought have continuously created cultural confusions since the modernization project started decades ago.  相似文献   

Living Un/Grammatically in a Grammatical World: The Pedagogic World of Teachers and Students     

Carl Leggo 《Interchange》1998,29(2):169-184

In my work with preservice teachers I face daily a dilemma. My student-teachers come to me with an urgent practical agenda: What do I need to know in order to survive in the world of school? In effect they want me to tell them how to fit into a world that they assume is structured like a grammar, with traditions and conventions and rules and patterns. They are seeking ways to conform to the pedagogic world as it has been written, but I hope they will seek ways to transform the pedagogic world, always written and always in the process of being written. I hope my student-teachers will seek ways to write, actively and deliberately and imaginatively, the pedagogic world of students and teachers. I want them to learn to live un/grammatically, to challenge the ways in which the world has been written for them, to know that they are not only written by the world, but that they also write the world. I invite my students to write the unwritten sentences, the sentences that interrogate and subvert syntax and semantics, the sentences that create spaces where my students can live un/grammatically.  相似文献   

‘Somewhere over the rainbow’: global projections/local allusions in Tears of the Black Tiger/Fa thalai jone     

Rachel Harrison 《Inter-Asia Cultural Studies》2013,14(2):194-210

Abstract

When director Wisit Sasanatieng’s retro cowboy flick Fa thalai jone (2000 Wisit, Sasanatieng. 2000. Tears of the Black Tiger (Fa thalai jone)  [Google Scholar]) became the first Thai film to be screened at the Cannes Film Festival in May 2001, under the English‐language title Tears of the Black Tiger, Thai cinema seemed to have truly ‘gone international’. This paper examines the striking disparity, however, in the reception of the film by local and global audiences, to the extent that Fa thalai jone and Tears of the Black Tiger might arguably be understood as two discrete and divergent cinematic texts at the level of viewer signification. For Western critics, ‘Tears…’ is unquestionably a piece of postmodern filmmaking, awash with surface aesthetic appeal, intertextual richness and an apparently unrelenting obsession with style that is seemingly devoid of an original reference point. Fa thalai jone, by contrast connotes distinct meanings for Thai audiences, who are more fully attuned to the original references the film pursues and able to read the aesthetic appeal it has to offer in a framework beyond that of the dominant ‘force field’ of interpretation that postmodernism has come to be in the West. Instead Fa thalai jone offers a homage to Thailand’s cinematic past, posing as a ‘genuine Thai film’ (phaphayon thai thae) and comprehended in terms of an alternative dominant force field of meaning, that of traditionalism and reverence for the past. This paper examines the ways in which Tears of the Black Tiger/Fa thalai jone straddles two alternative interpretive positions in an accomplished move on the part of the director to pursue the globally focused aspirations of modern Thai cinema while remaining idiosyncratically faithful to local sensibilities.  相似文献