论大学教学中的文化意识与文化自觉

大学教师从文化视角出发研究和组织教学,形成文化意识和文化自觉,以文化传承的形式进行课堂教学,有助于激发学生学习课程的兴趣,明显提高教学效果。     

文化自觉：照亮中国基础教育理性化阴影之灯

中国传统基础教育以私塾为形式,人文性的四书五经为其内容。清末民初,私塾为理性化的班级授课制所取代,这是理性在教育领域的第一次胜利;近十年来,基础教育集中于乡镇以上学校,村小学被拆并,乡镇初中日渐缩减,农村教育资源被抽空,这是理性在教育领域的进一步扩张。理性化带有形式合理而实质不合理的悖论特质。基础教育之理性化带来高效益的同时,也导致文化意识与价值观念越来越淡漠。目前,较为富强的中国社会也越发意识到,文化归宿之于中国人安身立命以及社会的可持续发展的价值所在。克服教育理性化阴影,在于文化的再植入。故而,面对教育理性化,亟待嵌入文化意识,须将本土文化嵌入基础教育之中以避免教育的无根性。     

数学基础课教学中问题意识的培养策略——以解析几何教学为例

探讨了数学基础课教学中培养问题意识的策略:强化基础,在清晰的知识储备中孕育问题;研究性教学,在教学过程中突出问题;注重应用,在实践中激发问题;大胆质疑,在求新求异中发现问题;营造环境,寓方法引导于教学过程之中。     

高职教育要紧扣专业特点——以法学高职（专）生规则意识与权利意识的培育为楔点

高校素质教育要紧扣专业特点。以对规则意识与权利意识的培育为切入点,对法学高职生素质教育的基本思路与方式进行初步探讨,着重论述了规则意识与权利意识培育的意义以及如何进行培育的途径与方式。     

20世纪初美国社会现实的艺术再现——评《被背弃的老祖母》

美国现代主义小说家凯萨琳·安恩·波特的小说以其细腻的描写、娴熟的技巧和深邃的思想内涵而深受读者、评论家和作家的赞扬和推崇。她的短篇小说《被背弃的老祖母》采用象征和意识流的写作手法,反映了20世纪初美国社会现实。本文对作品中的象征手法和意识流手法进行了仔细分析。     

论当代社会民主意识的建构

民主建设的重点,除了制度建设外,还应有主体的培养。民主主体培养的关键,在于民主意识的建构。在当前来说,民主意识培养主要应包括自由意识、平等意识、自主意识、权利意识、责任意识和义务意识等方面。其中,自由和平等是民主社会的共同基础;自主和权利是民主社会的核心内容;责任和义务则是民主社会的基本保障。这六种意识既是民主社会共同的意识基础,同时也为我国国民所普遍缺失,其培养因而也应成为民主建设必须关注的重点。它们的挺立,将极大地推动我国民主建设的进程。     

当代中国哲学社会科学的学术范式与文化自觉

自19世纪末以来,中国哲学社会科学有了三大思想文化资源：中国传统文化、马克思主义、西方思想文化。以何种方法和评价标准来整合这三大思想文化资源,成为以中国共产党代表的中国先进分子努力探索的历史性课题。中国特色、中国风格、中国气派是正确对待三大思想文化资源的学术范式。“马学为宗、国学为根、西学为鉴”是这一学术范式本质特征的综合体现。是当代中国的文化自觉。     

传统节日文化生存发展策略——写在传统节日法定化之后

当前,中国传统节日文化要得以生存与发展,有三个方面的工作是紧迫和重要的:提升对传统节日的"文化自觉",这是中国传统节日文化的生存之本,这方面媒体、学校教育、家庭、社区均有着重要的责任;重建传统节日的符号体系,在这方面,企业、商家和政府肩负着重要的使命;转换传统节日的参与模式,将封闭型的"血缘共同体参与模式"转换为适应现代生活的开放型的"业缘共同体参与模式",这对中国传统节日文化的生存与发展有着现实而又长远的意义,这方面,各类社会组织起着重要的作用.     

Assessing Politicized Sexual Orientation Identity: Validating the Queer Consciousness Scale

Building on psychological theories of motivation for collective action, we introduce a new individual difference measure of queer consciousness, defined as a politicized collective identity around sexual orientation. The Queer Consciousness Scale (QCS) consists of 12 items measuring five aspects of a politicized queer identity: sense of common fate, power discontent, system blame, collective orientation, and cognitive centrality. In four samples of adult women and men of varied sexual orientations, the QCS showed good test-retest and Cronbach’s reliability and excellent known-groups and predictive validity. Specifically, the QCS was positively correlated with identification as a member of the LGBTQ community, political liberalism, personal political salience, and LGBTQ activism and negatively correlated with right-wing authoritarianism and social dominance orientation. QCS mediated relationships between several individual difference variables and gay rights activism and can be used with both LGBTQ people and allies.     

Un-imagining the local/future: cinematic engagement with the absence of hope

ABSTRACT

With reference to the 2014 Umbrella Movement and Hong Kong’s uncertain fate come 2047, I ask how one un-imagines the cultural future of inhabiting the locality. As people take prompts from the present predicament to cope with real possibilities about the future, they realize that a strong embodiment of local consciousness permeates the sociocultural space. I discuss how such engagement takes place through cinematic experience, and examine tactics of the spectator’s critique centring around the erosion of hope at the core of everyday, intellectual and affective imagination. I trace the ways in which postcolonial subjects engage with hope and with the shock of hopelessness in a lived social imaginary. Examining in detail three differently representative recent films, namely, The Midnight After (2014. Dir. Fruit Chan, The Midnight After Film and One Ninety Films), Overheard 3 (2014. Dir. Alex Mak and Felix Chong, Sil-Metropole, Bona Film and Pop Movies) and Ten Years (2015. Dir. K. L. Ng (‘Local Egg’, Boon-deh dan), J. Au (‘Dialect’, Fong-yin), K. Chow (‘Self-Immolator’, Jee-fun jeh), F. P. Wong (‘Season of the End’, Dong sim), and Z. Kwok (‘Extras’, Fau gua), Ten Years Studio), I depict the modes in popular imagination that invoke people’s engagement with the ‘local’, albeit in its affective state. Accordingly, in the context of ‘externalized’ social realities, I identify three interlocking modes of cultural engagement, which I characterize as figurative, performative and prefigurative, respectively. In their ‘future’ imaginary, I look for ordinary people’s ways to face the absurdity of the status quo and the performativity of local struggles with the self.