体育教学中如何培养学生的创造力

体育教学中如何培养学生的创造力,对于我们小学体育教师来说是一个考验、一个挑战、一次很好的尝试。学生体质健康标准强调的是促进学生身体的正常生长和发育,促进形态,全面协调发展,促进学生身体素质的全面提高,促进学生创造力的培养。从而激励学生主动自觉地参加经常性的体育锻炼,培养学生的体育兴趣、爱好和习惯,。教育的根本目标是培养有创造力、身心健康的人才,而体育运动本身的根本特征就是创造力。那么,培养学生的创造性思维和创造力就成了体育教学追求的目标。     

体育教学中如何培养学生的创造力

体育教学中如何培养学生的创造力,对于我们小学体育教师来说是一个考验、一个挑战、一次很好的尝试。学生体质健康标准强调的是促进学生身体的正常生长和发育,促进形态,全面协调发展,促进学生身体素质的全面提高,促进学生创造力的培养。从而激励学生主动自觉地参加经常性的体育锻炼,培养学生的体育兴趣、爱好和习惯,。教育的根本目标是培养有创造力、身心健康的人才,而体育运动本身的根本特征就是创造力。那么,培养学生的创造性思维和创造力就成了体育教学追求的目标。     

浅谈美术欣赏教学中学生创造性思维的培养

创造力的培养是素质教育的重要核心,艺术教育贵在创造,艺术学科要培养学生的艺术创造才能,促进学生各方面综合素质的提高。在教学过程中,一方面注意营造一种适合培养学生创造性的环境,另一方面,充分发挥学生的想象力、创造力。爱因斯坦说;“想象力比知识更重要,知识是有限的,而想象可以囊括世界。”在美术欣赏教学中,要从形象思维入手激发丰富的联想,提倡独创精神,加强创新意识,通过教学培养学生的形象思维能力,并促进抽象思维的发展。突出创造力的培养。     

论小学语文教学中学嗑创造力的培养

新课程标准指出：“语文教学要注重开发学生的创造潜能,促进学生持续发展。”创造力到底是什么？创造力是个体在能接纳或容忍不同意见的环境下结合敏锐、流畅、变通、独创、精进的特性,通过思维的过程,对于事物产生分歧性观点,赋予事物独特、新颖的意义,其结果不但使自己也使别人获得满足。那么在小学语文课堂中如何培养学生的创造力呢？我认为应从以下方面入手：     

用美的课堂来感染学生

美的课堂不仅可以促进学生身体健康地成长,而且还能让学生受到美的熏陶,促进学生智力的发展,提高学生的观察力,想象力,思维力和创造力,培养高尚的人格。     

用美的课堂来感染学生

美的课堂不仅可以促进学生身体健康地成长,而且还能让学生受到美的熏陶,促进学生智力的发展,提高学生的观察力,想象力,思维力和创造力,培养高尚的人格。     

家园共育促进建构游戏中幼儿创造力培养的有效策略

<正>学前教育的使命之一就是重视幼儿的想象与创造,培养有创造力的幼儿。利用家园共育这一模式在建构游戏中培养幼儿创造力势在必行。但目前学前教育中仍存在家园合作不到位和建构游戏质量待提升的问题,因此,幼儿园要通过多种途径促进建构游戏中幼儿创造力的培养。一、家园共育模式下开展建构游戏培养幼儿创造力的意义(一)幼儿创造力培养的重要性联合国教科文组织在《学会生存——教育世界的今天和明天》中指出:“只有具备创造性才能的人才能应对瞬息万变的未来社会,     

素质教育与美术教学智力培养的体会

创造力的培养是素质教育的重要核心,艺术教育贵在创造,艺术学科要培养学生的艺术创造才能,促进学生其他方面的综合性的有造才能的发展,在教学过程申,一方面注意营造一种适合培养学生创造性的环境,另一方面,充分发挥学生的想象力、创造力。     

数学教学要贴近学生生活

笔者认为数学课堂融知识、生活、趣味、游戏于一体。开发和利用课程资源进行创新教育;培养学生的数学兴趣,提高学生的创造力;改革课堂教学模式,增强学生的自信心;实施科学评价,促进全面发展。     

浅谈我国体育产业的发展现状及问题

体育产业是当今世界经济发展速度最快的产业之一。已成为发达国家国民经济的支柱性产业,对促进国民经济增长、开拓新的消费热点、拉动消费、扩大内需等都具有十分重要的作用。     

Brave new world

This article asks if China can develop a truly creative economy and follow the lead of South Korea, Japan, Hong Kong, Taiwan and Singapore. If the benefits flowing from the creative economy (and creative industries) are so strategic to government, we need to ask what impact this re‐evaluation of creativity will have on a country often identified as having an overly regulated cultural sector. While there is ample evidence to support the idea of a dormant and often parasitic cultural sector, this article points to some areas where creativity is emerging as inputs into production, distribution and consumption.     

20世纪八九十年代西部农村的庙会文化——以陕北地区为个案

改革开放以来,陕北乡村发生了巨大的变化,由单一的农业经济向多元经济转变,城镇化速度加快,农村社会阶层出现分化,社会大环境的变化使重新兴盛的庙会既继承了传统庙会的功能,同时又表现出以庙会活动为中心形成社区文化共同体、从传统神灵信仰转换为社会需求的表达、在维护乡村秩序中扮演了重要角色、开始在社区公共事务中发挥作用以及促成民间庙会与地方政府的互动等新的特点。对其作出全面、客观的评估,对推动西部大开发,促进农村社会的稳定和发展,将会起到积极作用。     

INTRODUCTION TO GEOGRAPHICAL ECONOMIES OF CREATIVITY, ENTERPRISE AND THE CREATIVE INDUSTRIES

This special issue brings together creativity and enterprise through the geographies of the creative industries. In recent years the focus of academic debate has privileged business and corporate economies, and so this issue seeks to contribute both empirically and theoretically to the burgeoning literature of creative industries. Economic geography offers a rich domain through which to engage with these debates, exploring the nuances of creativity and enterprise. Our aim, as well as bringing together a set of interesting papers, is to contribute critically to understanding the organization and spatial structure of creative industries and the broader creative economy.     

Creating a niche,building a community: a case study of young small-scale creative workers in Daegu,South Korea

The global trend of garnering the innovative potential of creative economy has also accelerated in South Korea where ‘creativity’ has recently become a nationwide buzz word. While economic instrumentality underpins the global proliferation of creativity discourse, it has been argued that the contemporary cultural sector is affected by neoliberal norms and hyper-competitive individualism. Notwithstanding such disciplining of creativity, this paper attempts to look into the complexity of cultural work which cannot be solely explained by the ascendant neoliberal ethos. To this end, the paper draws upon interviews carried out in 2016 with youth cultural workers, particularly who commit to independent, small scale creative work, in the city of Daegu. Based on an exploration of their locally oriented moral motivations and how they describe and practice their own work, the paper aims to discuss the ways in which they contribute to local cultural ecologies through their socially engaged creative work.     

Learning by ‘design’: how undergraduates in Singapore learn to become engineers

ABSTRACT

In this paper, we explore the evolving norms and dispositions of creativity and enterprise of engineering students using data gathered from a newly established technology and engineering-focused university called ‘UniTech’ located in Singapore. Based on interviews with students, we seek to explain (1) what they learn, reject, adopt and appropriate; (2) the kinds of challenges they face and (3) the unexpected and serendipitous outcomes of their learning. Through an integrated engineering curriculum focusing on design, students learn to be technically competent, creative and entrepreneurial persons. This paper considers how the curriculum works as a set of formal procedures preparing students for a future ‘knowledge-based economy’ imagined to be technology-intensive, dynamic and filled with opportunities but also increasingly uncertain. We analyse how students at UniTech negotiate this design-focused curriculum where experiences of creativity, open-ended possibilities and holistic perspectives intersect with the national economic agenda of a knowledge-based economy.     

CULTURAL ECONOMY AND THE CREATIVE FIELD OF THE CITY

I begin with a rough sketch of the incidence of the cultural economy in US cities today. I then offer a brief review of some theoretical approaches to the question of creativity, with special reference to issues of social and geographic context. The city is a powerful fountainhead of creativity, and an attempt is made to show how this can be understood in terms of a series of localized field effects. The creative field of the city is broken down (relative to the cultural economy) into four major components, namely, (a) intra‐urban webs of specialized and complementary producers, (b) the local labour market and the social networks that bind workers together in urban space, (c) the wider urban environment, including various sites of memory, leisure, and social reproduction, and (d) institutions of governance and collective action. I also briefly describe some of the path‐dependent dynamics of the creative field. The article ends with a reference to some issues of geographic scale. Here, I argue that the urban is but one (albeit important) spatial articulation of an overall creative field whose extent is ultimately nothing less than global.     

广州市创意产业从业者地域分布特征研究

20世纪90年代以来,一种依靠知识和信息的新的经济形态--创意经济应运而生,它以市场化运作的模式创造经济财富的同时,也带来广阔的就业领域。在这一浪潮影响下,广州市创意产业中也得到快速发展,创意产业从业人数也大量增加,并呈现出特有的地域分布特征。以广州市第一次经济普查数据为根据,从地理学空间的角度以微观层面探寻广州城市内部空间创意产业从业人员空间分布特征,通过从城市整体空间、城市地域结构空间、不同创意产业行业分布空间三个空间层面的对比分析研究,追溯出广州市创意产业从业人员地域分布规律,对并试图总结出它的发展趋势。并尝试对其分布特征的形成原因做出解释,总结出它的分布规律。鉴于国内外创意产业研究的现况,这一研究不仅能丰富国内外创意产业就业研究的空间尺度和实证研究成果,具有重要的理论意义,而且对广州市创意产业的发展具有一定的指导作用。     

The National Competition Policy: A Study of the Policy Process and Network

In his recent work on the Australian political system, Ian Marsh argues that interest groups and issues movements should be treated as 'potential partners and collaborators with government' (1995, p. 1). He suggests that the traditional two-party system with its inherent reliance on adversarial relations may need to mutate to cope with the demands which stakeholders are placing on the policy process and a changing political culture. This paper examines evidence that collaborative and cooperative modes of interaction are developing in Australia as a feature in the strategies used by both government and non-government players.     

Towards ‘Embedded Non-creative Work’? Administration,digitisation and the recorded music industry

Abstract

For contemporary cultural policy, ‘non-creative’ work continues to form a conceptual blindspot: a foil to define and value creativity against. This paper develops existing categories to augment the task-focused notion of ‘embedded creativity’ with a more situated view of work’s cultural and institutional embedding. It first interrogates this ‘embeddedness’, taking a ‘cultural economy’ approach to intermediation and administrative support. Drawing on observations from an in-depth qualitative study of employees in major record labels, the second part articulates the heightened importance of ‘admin’ to recorded music industries, after ‘digital disruption’. Routine bureaucratic labour presents an atypical example, revealing much about the hidden relational and identity work that goes into constructing ‘creative industries’ as such. The intention is not to show that ‘embedded non-creative workers’ are in fact ‘creative’ but, on the contrary, to articulate the distinct contributions and value of support work in this context, questioning a persistent reliance on creative/non-creative dualisms. Policy research would benefit from enriched understanding of culture's assembly in marketable objects, reorienting understandings of ‘cultural’ labour markets and careers, and reimagining the role of traditional cultural ‘administration’ in the contemporary ‘creative economy’.     

Politics of the ‘creative industries’ discourse and its variants

The existing academic debate on creative industries can be summarised as ‘Trojan horse or Rorschach blot’: creative industries working as a neoliberal discourse or producing different effects depending on local context. Arguing that these are two sides of the same coin, this article looks closely at the discourse’s depoliticising and encompassing forces and their interplay on the discourse’s intersection to the broader new economy narrative. The article’s focus is South Korean variants of creative industries discourse. First, the country’s ‘content industries’ discourse served as a Trojan horse for the depoliticising narrative of knowledge economy while boosting the cultural sector discursively and financially. Second, ‘creative economy’ has very recently emerged as the current conservative government’s master economic narrative. This discourse allows the government’s neoliberal economic policies to be further justified while making cultural policy unable to persuasively claim that creativity belongs in the culture’s domain.