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福禄培尔教具和蒙氏教具分别是福禄培尔和蒙台梭利分别为幼儿成长和发展所设计的教具.一种被称为“恩物”;一种被称为“工作材料”.两种教具之间既存在着区别也存在着联系.本文试图从这两种教具所体现的哲学思想基础出发来分析.主要从统一性原则、自我教育发展这两个角度出发,旨在找出二者之间的不同,以及二者之间存在的联系. 相似文献
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David Wulstan 《Al-Masaq: Islam & the Medieval Mediterranean》2005,17(2):221-249
In Greece and Rome, Ionic rhythm appears to have been associated with erotic dances. A tune-type going with this rhythm is found in several of Alfonso's Cantigas (second half of the thirteenth century) and in folk music from around the Mediterranean, recorded from the sixteenth to the twentieth centuries. Could these tune-types (and their associated ground-basses) go back as far as Martial's Dancing-girls of Cádiz – and indeed to Euripides and Aristophanes? There is also a possible link with the kharjas of the Andalusian muwashsha.(h)āt, and a substantial connexion with the dance known from later sources as the Canaries. Not only is there evidence of a rhythm and associated melodic motive stretching over more than two millennia, but we can discern, even hear, parts of an unwritten tradition of improvised instrumental music and discover a harmonic vocabulary which mostly emerges on the written page only in the Renaissance. 相似文献
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王文渊 《和田师范专科学校学报》2005,25(5):111-112
本文分析了影片《音乐之声》中女主人公玛丽亚的性格特点,指出该片的成功之处主要在于塑造了玛丽亚这一完美的女性形象,并通过这一形象告诉人们,爱与追求是通向和谐幸福之路。作者同时也指出,玛利亚是以简·爱为代表的西方新女性形象的继续和延伸。 相似文献
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穆杉 《鞍山师范学院学报》2015,(6):74-77
歌剧是音乐和戏剧相互融合的高级形式，在艺术领域有着深远的影响。在歌剧的发展历史中，先后出现了很多艺术大家，马丽亚?卡拉斯就是其中的代表人物之一。本文着重研究了卡拉斯的艺术经历，并分析了她经典歌剧的演唱艺术特点，以期古为今用，学习借鉴，促进歌剧事业的繁荣。 相似文献
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Peter Cunningham 《History of education》2019,48(1):118-141
Visual images played an increasing role in professional discourse and in popular and political debate about progressive education over a century or more. In the early 1900s photography was adopted by some progressive texts to convey new ideas illustrated by practice. This paper highlights an iconic example: John and Evelyn Dewey’s celebrated Schools of To-Morrow (1915), with reference to a small selection of its photographic illustrations. Consideration is given to how images were constructed, their status as historical evidence and issues of interpretation. Comparison is made with other illustrated works, preceding and following Schools of To-Morrow, by advocates of child- or student-centred pedagogies. The article urges critical reflection on visual representation in arguments for and against progressivism in more recent times. Insights drawn from earlier examples should be borne in mind by historians seeking to evaluate the role of pictorial sources in discourses of pedagogical reform. 相似文献
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David Wulstan 《Al-Masaq: Islam & the Medieval Mediterranean》2009,21(2):191-227
The collection of Cantigas de Santa Maria compiled by Alfonso X (el Sabio) (r. 1221–1284) is a gold mine of musical information; unfortunately, however, much fool's gold has also been found amongst its pages. The CSM have been argued to provide evidence that their music derives from plainchant (thus justifying “churchy” performances) yet also to manifest so many “Arab” traits as to support a “Turkish Delight” style of performance. True, there are occasional substantive links between one or other of these repertories, but these are infrequent and specific rather than numerous and general. A closer, judicious, scrutiny of the Cantigas reveals that they are neither the product of an ecclesiastical nor of an “Arab” kitchen, as it were, but a repertory (and iconography) whose careful examination yields up several surprising secrets, especially when reading between its lines. The CSM are neither fish nor fowl, and the collection contains few, if any, recipes for Lamb Ziryāb or for the Lenten fast. On the contrary, its dishes are, in common with Paella, suorum generis, belonging to a musical cuisine of their own, whose sum is indeed greater than the parts of their manifold influences. 相似文献