浅谈多媒体在语文教学中的应用

教师必须合理使用教材,灵活运用电教、多媒体等教学手段,在课堂上充分调动学生学习的积极性,使学生在轻松、愉悦中获取知识。     

民国时期南京建筑师的执业状况

民国时期南京建筑师群体是中国近代建筑发展中重要的力量,其形成及执业活动状况一方面呼应了中国建筑师职业和近代建筑发展的大背景,另一方面又不同程度地受到南京城市地位和环境的影响,具有鲜明的地域特殊性。     

浅谈犀皮漆器

在我国传统漆工艺中,有这样一种漆器,表面非常光滑,纹理却显得层次杂叠、斑纹浮动,呈现出一种光怪陆离、变幻莫测的美。它的学名叫犀皮,在我国北方俗称为＂桦皮漆＂或＂虎皮漆＂,南方则俗称＂波罗漆＂。我国古代唯一传世的漆器工艺专著《髹饰录》中,对犀皮漆有如下记载：＂犀皮,或作西皮,或犀毗。文有片云、圆花、松鳞诸斑。近有红面者。共光滑为美。摩窳诸斑。     

繁昌元代窖藏瓷器（上）

一．繁昌元代窖藏瓷器概述 CHINA一词的译意,一为中国,二则为瓷器。瓷器作为中国最伟大的发明创造之一,为中国赢得了瓷器之国的美誉。悠悠千年岁月中,历朝历代都留给我们许多美轮美奂、各具特色的瓷器珍品,它们无一不收获了全世界人们货许的目光。     

鲁艺术刻工作团的新年画创作尝试

抗日战争是中国20世纪乃至中华民族发展史上的重大事件,也是世界反法西斯战争的重要组成邴分。在这场关系列民族生死存亡的大搏斗中,几乎每位文艺工作者都经历了一场心灵的震荡、情感的冲突和观念的嬗变,他们既饱受了内忧外患的煎熬,也释放出了巨大的生命与艺术激情,     

再论"失蜡工艺不是中国青铜时代的选择"

本文从技术史的理论角度论述了"没有需求就没有发明(No need,no invention)"、"没有需求就没有发展"等技术产生发展的客观规律,指出,中国古代(青铜时代)在发达而成体系的青铜范铸技术环境里是不可能孕育发展出"熔模铸造体系"的,并以曾侯乙尊盘的铸造工艺及相关的模拟实验结果作进一步的论证;同时,对中国古代"失蜡工艺"起源于商周青铜器"焚失法"的观点提出质疑,并指出,"失蜡工艺"是在佛教传入中国之后,为铸造"西洋风格"的佛像传入我国.     

Multiculturalism in taiwan

This study explores the contradictions and challenges in the development of multiculturalism in cultural policy in Taiwan. The approach used involves an exposition and critique of the two dominant models of multiculturalism in Western theory – namely, liberal multiculturalism and postmodern multiculturalism. From the perspective of liberal multiculturalism, I argue that ignorance of multicultural citizenship limits the scope and impact of multicultural policy. I then go on to suggest that postmodern multiculturalism addresses problems related to the visibility of cultural differences and shifting identities. Through analysing the various contradictions and challenges inherent in these two approaches, this study hopes to identify appropriate forms of multiculturalism capable of taking into account both multicultural citizenship and the dynamics of cultural diversity.     

How does a house remember? Heritage-ising return migration in an Indonesian-Chinese house museum in Guangdong,PRC

This paper is an attempt to integrate heritage and museum studies through exploring the complex relationship between the materiality of architecture and social memories with a house museum of return migration in Guangdong, PRC as a case study. It unveils that the ongoing process of memory is intrinsically intertwined with spatial and temporal dimensions of the physical dwelling and built environment and the wider social-historical context and power relations shaping them. I argue that it is the house as ‘object of exhibit’ just as much as the exhibits inside the house that materialises the turbulent and traumatic migratory experience of Returned Overseas Chinese, embodies their memories and exposes the contested nature of museumification. By looking at the socially and geographically marginalised dwelling of return migrants, the house draws people’s attention to the often neglected importance of conceptual periphery in re-theorising what is often assumed to be the core of heritage value. It points to the necessity to integrate displaced, diasporic, transnational subjects to heritage and museum studies that have been traditionally framed within national and territorial boundaries.     

“大跃进”运动前后“三主”治水方针的形成与调整

新中国成立后,党和政府非常重视水利建设,在"大跃进"运动高潮中确立了以蓄为主、小型为主、社办为主的"三主"治水方针。"三主"方针对指导各地水利建设起了重要作用,但"蓄水为主"在当时引起较大争论,并在实施过程中带来了严重的次生盐碱化危害。为此,党和政府在进行大量调查研究的基础上,对"三主"治水方针进行了部分调整,果断地将"以蓄为主"改为"配套为主",形成了新的"三主"方针,即小型为主、配套为主、群众自办为主。"大跃进"运动前后治水方针的形成与调整,既体现了党和政府坚持贯彻群众路线和实事求是的工作方法,也体现了党和政府正视现实、勇于创新的进取精神。