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Ethnographical mapping of thick places – teaching and learning practices in teacher training schools
Mikael Jonasson 《Ethnography and Education》2019,14(1):16-33
The aim of this study is to use an ethnographic method in order to map where understandings of teaching and learning practices (TaLP) are being discussed in three schools. The questions posed are: what are the relations between thick places, meaning, affect, and TaLP? This study uses an ethnographic method outside the classroom and in between different activities as a starting point for understanding TaLP and where many students at the same school produce thick places of affect and meaning. The main conclusion from this study is that matters of where, what, and who are shaping TaLP. Another important conclusion from this study is that training schools offer new conditions for teacher students, but also offer new opportunities for ethnographic studies that aim at understanding these school environments with a range of new questions. 相似文献
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冷轧板带材的品质是军事、工业、建筑、生活等各个领域的生命线。因此,控制好冷轧板带材的质量参数,是需要解决的主要问题。本文任务是根据某厂轧机实际参数,利用计算机加以精确仿真,并为如何提高板形与板厚精度控制奠定了模型基础。 相似文献
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通过对高强特厚板材料热影响区的脆化、冷裂纹和层状撕裂等焊接性能的分析,得出Q345GJC钢材焊接性能较差的结论.对高强特厚板焊接工艺质量控制要点进行了深入的研究,并应用于某超高层钢结构制作监造中,焊缝合格率达到100%,有效的保证了工程的质量. 相似文献
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从基点的定义给出厚透镜基点的计算公式，与文献[1],[2]比较，本方法更为简单，且突出了基点的物理意义。 相似文献
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性别译者:主体性与身份建构 总被引：2，自引：0，他引：2
译者的身份和地位在传统的翻译研究中长期被忽视，表达等级体系的“忠实”概念成为译者主体性发挥的镣铐。“显形”译者和“性别”译者充分展现了一个解放了的译者形象。本文试图超越国内译界在译者主体性研究中的阐释学／接受美学范式，从女性主义翻译理论的视角来阐释译者的主体性问题，它突出地表现在译者对自我身份的寻觅和建构。通过“深度翻译”，译者充分挪用元文本空间来塑造一个具有独特身份的主体。 相似文献
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"吃了吗"这个问候语,具有华夏文化特质。解释为中国人偏好饮食,只是看到宽泛的表面意义;解释为中国人偏重以饮食作为社会交际的主要手段,也是基于直接经验;理解华夏文化延伸"食物共享"的意义,才能明确"吃了吗"的真实意义,仅限于表达亲近的朋友关系。 相似文献
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张鹏飞 《信阳师范学院学报(哲学社会科学版)》2010,30(4):100-103
从＂渐为新变＂的泰始诗坛到＂勃尔复兴＂的太康、元康诗坛,最后到＂变创新体＂的永嘉诗坛,西晋诗歌艺术逐渐脱离了建安风骨之慷慨激越与正始文坛崇尚玄思的风尚,向结藻清英、繁缛绮靡、刻意追求形式技巧的形式主义风尚发展,形成了＂缛旨星稠,繁文绮合＂的文学特征。并上承建安、正始,下启南朝,可谓＂采缛于正始,力柔于建安＂,在中古诗歌发展史上开创了继往开来的诗歌艺术风尚。 相似文献
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Karl Wallick 《The International Journal of Art & Design Education》2012,31(1):19-29
This article presents techniques and theories of generative drawing as a means for developing complex content in architecture design studios. Appending the word ‘generative’ to drawing adds specificity to the most common representation tool and clarifies that such drawings are not singularly about communication or documentation but are also productive instruments for architectural inquiry. A particular aspect of generative drawings is their potential to directly activate conceptualisation processes. Such advancement is demonstrated through evidence of continued design thinking development rather than isolation of schemes at a particular point in a process. Generative drawings offer the means of advancing multiple paths of inquiry rather than singular research channels typified in introductory pedagogies. The relevance of drawings as polemical instruments or tools of critique and history is well established, but the intellectual and physical techniques of generative drawing that advance multiple modes of architectural research are less explicit. The use of drawings as discursive instruments is a critical step towards the alignment of authorship as but one category of priority alongside the rich and complex field of forces beyond individual intuition. The recognition of design research as a category of inquiry commensurate with scientific or historical disciplines requires that our instruments have explicitly defined purpose. By discussing specific techniques and the reasons for communicating such intuitive or inexplicit architectural conditions, this article seeks to disperse the mysterious haze that obscures the legibility of architectural drawing from the uninitiated. 相似文献