新时期中学思想道德教育原则

思想道德教育必须基于一定的原则。中学思想道德教育原则是从事中学思想道德教育时应该遵循的基本准则。确立正确的思想道德教育原则对中学思想道德教育活动的有效开展具有重要的意义。基于人本的思想道德教育原则,在学生的思想道德水平最近发展区里对学生施教原则,非智力因素促进思想道德教育有效原则,"法、儒、道"互补原则是新时期中学思想道德教育的基本原则。     

刍论我国政党法治化建设

当代世界政党立法主要有四种模式:宪法立法模式、政党法立法模式、单行法规立法模式、宪法惯例模式.制定政党法是依法规范政党活动,改革和完善党的领导方式和执政方武,体现多党合作价值,抵御西方多党制影响的需要.我国政党法需要着重解决的问题:政党活动的基本原则;政党内部的治理结构;政党与政府的关系;执政与参政的关系.     

刍议21世纪音乐教育之趋向

音乐在21世纪的国际文化交流中成为民族凝聚力和综合国力的一种体现,使得音乐教育的意义在国民教育中凸现出来,并在新时代中呈现出新趋向:音乐教育成为全民教育;民族音乐文化的价值越来越被重视;流行音乐将成为学校教育强有力的补充教育。     

音乐欣赏课的新课程教学探索

音乐欣赏是使学生聆听,感知音乐从而理解音乐,提高感受美、鉴赏美、表现美、创作美的有效途径,是中学音乐教学内容的重要组成部分,是音乐学习活动的基础,也是学校进行审美教育,陶冶情操的重要途径。在欣赏教学中以音乐为本,以听为本,采用多种形式,引导学生积极“参与”音乐,体验音乐。     

高校大学生公寓党建平台构建之思考

高校在学生公寓构建党建平台是高校后勤社会化改革的必然产物,是新时期人才培养模式转变的需要,是加强和改进新时期高校大学生思想道德教育的重要抉择。为此,应完善学生公寓党建组织和制度载体,充实学生公寓党建物质载体,创建学生公寓党建网络载体,健全学生公寓党建活动载体,达到充分发挥学生党员的先锋模范作用和体现党组织的先进性,加强大学生公寓思想道德教育的目的。     

共建教育发展共同体

正4月10日,中共江南区委统战部"同心·扶教"活动暨南宁三中青秀校区、江西中学、民进南宁市江南区总支携手共建教育发展共同体启动仪式在江西中学举行。活动中,中共江南区委统战部、南宁三中、江西中学三方签订了"同心·扶教"共建教育发展共同体协议,南宁三中和江西中学开展了各教研组之间教学教育交流活动。此后,南宁三中将通过每年定期组织教育教学交流和研讨活动,帮助江西中学通过完善各项管理制度,规范办学行为和日常工作管理,推动"一校一品牌,一校多特色"     

创新和完善大学生思想政治教育管理机制

在新形势下,大学生思想政治教育面临许多新情况新问题,加强和改进大学生思想政治教育,需要创新和完善大学生思想政治教育管理机制,主要是任务分解、资源整合、绩效考评机制,用稳定有序的机制保障大学生思想政治教育持续有效地进行。教育任务分解机制 大学生思想政治教育,有课堂教育、校园教育、社会教育、自我教育等组成部分,每个部分的教育活动,又由不同的人员或组织担负,要加强和改进大学生思想政治教育,就需要把总体教育任务分解到各     

对当前部队坚持党绝对领导原则的问题分析及对策心思考

党对军队的绝对领导原则是人民军队建军治军的根本原则。在新世纪新阶段军队内外环境发生深刻变化的前提下,适应形势的发展动态,一如既往地坚持好党对军队的绝对领导原则需要着力从思想政治教育和党组织运行机制等方面的改进和完善中寻求突破,在工作的形式和内容上不断创新。     

中学班级管理中的思想政治教育功能

所谓中学班级管理中的思想政治教育功能,是指中学班级管理活动所发挥的对中学生进行思想政治教育的积极作用。中学班集体是中学生成长的重要舞台,加强中学班级管理是适应中学生身心发展需要,是对中学生进行思想品德及政治教育,使之形成正确的"三观",成长为社会主义事业建设者和接班人的重要途径。     

爵士钢琴在我国流行音乐中的应用现状研究

20世纪,爵士钢琴得到了迅速的发展,不仅影响了美国流行音乐的发展,也对整个世界的流行音乐发展和各种音乐形式的发展起到了重要的作用。因此,文章首先探讨爵士钢琴的发展历程、特点以及相关的基本理论,在此基础上又探讨了爵士钢琴在我国流行音乐中的应用现状,以期提高人们对爵士钢琴的重视程度,促进我国流行音乐的发展。     

Advertising and the conquest of culture

Thomas Frank's important The conquest of cool: Business culture, counterculture, and the rise of hip consumerism usefully described the advertising industry's “conquest of cool” in the 1960s and beyond, the co-optation of the hip and the cool for the purposes of advertising marketing. This article argues that, since Frank's book appeared, the “convergence of commerce and content” – as the advertising industry calls it – has meant that the production of content is even more entwined with advertising than ever before. The first part of this article describes this shift with particular attention paid to the production of advertising music, which increasingly employs well-known rock, hip-hop, and other popular musicians. The analytical portion of this article draws on the studies of Richard A. Peterson and others on the rise of the socially elite “omnivore” consumer of cultural products to argue that advertising has played a crucial role in this shift, emphasizing the cool and the trendy. Last, the article updates Pierre Bourdieu's influential notion of cultural capital, for, if social elites are more omnivorous in their tastes, then cultural capital today must increasingly be associated with knowledge of the trendy, not only the fine arts.     

Social distance and the multimodal construction of the Other in sectarian song

This paper introduces the concept of “tonal gravity” through a multimodal analysis of a YouTube video to demonstrate how multimodality is key to the construction of “Rule Britannia” as a sectarian song. The analysis focuses upon the multimodal semiotics of social distance which has been a key concept in sociological and anthropological traditions in recent times. This concept offers a means to understand the social semiotic relationship between Self and Other in multimodal discourse. Following previous work in social semiotics and music studies which examine how visual composition, music and the voice have constructed social distance or expressions of intimacy, I introduce the concept of tonal gravity which extends the metaphors of semiotic space in previous work in the musical mode, to account for a fuller understanding of how music helps narrate the multimodal Self and Other. This is introduced via a close multimodal analysis of “Rule Britannia” as a Rangers Football fan video which is only transformed into a sectarian text through multimodal collocation where different semiotic resources in various modes act in combination to produce a dominant Self actively prejudiced against a low Other.     

优美的音乐形式,丰富的主题内涵——英诗的艺术美赏析

英诗是一座知识的宝库，也是一门美的艺术。作为美的艺术，英诗能给我们带来快乐；作为知识的源泉，英诗能给我们增添才智。英诗涉及的主题非常广，其功用多种多样。它的知识含量丰富，又是多种情感和想象力的反映。诗人提供给我们的是如何看待生活和解决问题的方式。它还有优美动人的旋律，甚至能谱曲歌唱，悦耳动听。朗读或背诵诗歌能得到音乐美的熏陶，是一种真正的艺术享受。因此，英诗能给予我们无穷的智慧和快乐。     

对音乐专业学生人文素质缺失的思考与对策

音乐专业的学生人文素质的缺失如果得不到矫治,对其当前心理健康和今后学业完成和个人的成长都有负面的影响.因此,分析人文素质的缺失的表现及因为,找到解决对策,无疑对音乐专业学生来说是极为重要的.     

Doing (things with) sounds: introduction to the special issue

This special issue aims at analyzing music as a site of social semiosis, i.e., at investigating the manifold ways in which music is constituted as a socially shared event. The papers collected here follow three main threads, considered as central aspects of music making: studying the kind of coordination and participation required to make music together; looking at the semiotic resources employed by musicians to construct their roles in interaction; examining the relationship between language and music. A variety of perspectives is adopted, ranging from social semiotics to conversation analysis, anthropology, multimodal analysis, and critical discourse analysis. Such a variety is also reflected in the musical traditions – Western art music, jazz, gospel, church hymns, pop music – and in the settings under examination, which comprise instructional activities like musical classes and rehearsals, as well as ordinary conversations and written accounts of musicians' biographies. Issues of epistemicity and authority, intersubjectivity, correction of musical action, solidarity, and ideology are thereby addressed. The issue thus aims at exploring the richness and complexity of music making as a social practice, and documents how the integration of different disciplinary perspectives can offer fruitful insights on music as a domain of sociality which lies at the intersection of aurality and writing, norm and creativity, individuality and collectiveness.     

The emergence of learnables in music masterclasses

In music masterclasses instruction is delivered in response to successive learners' performances, with masters having no recourse to lesson plans or other prepared materials. As a result, topics emerge discursively and spontaneously through interaction. In this paper we describe four ways in which masters develop matters for improvement (learnables). Masters may present learnables as being based on master expertise; on masters' direct displayed experience of the student's performance; on the elicited direct experience of the student-performer; or on the elicited direct experience of the audience. By using a conversation analytic approach, we detail the emergence of learnables in five recorded instances.     

各正性命:轴心时代政教思想的核心

各正性命是轴心时代政教思想的核心,解释轴心时代政教视阈"各正性命"的内涵,阐释为何各正性命是政教思想的核心。政教如何开启个人的"各正性命",主要实施礼乐教化、尊重、引导地方习俗,遵循无为的政治来实现。     

Beyond the Ode to Joy? The Politics of the European Anthem

Anthems are conventionally viewed as helping to unify and mobilise populations by generating a sense of shared identity. Beethoven's Ode to Joy, which currently serves as the European anthem, occupies a more equivocal place in the European Union's symbolic armoury. Whether performed with or without Schiller's original text, the piece raises important questions regarding the nature of the European Union and the purpose of Beethoven's music within contemporary European politics. Nevertheless, given that any practical alternatives also raise significant difficulties, Beethoven's Ode to Joy can be regarded as a useful prompt for reasoned discussions regarding the future of the European Union, especially if reunited with the text of Schiller's An die Freude.     

A rhetoric of style: Eleanor Rigby and the reordering of popular music

In this paper, we present a synthesis of Kenneth Burke’s rhetoric of identification and Jay Lemke’s social semiotics to frame Eleanor Rigby by the Beatles as a unique point in the phylogenesis of recorded popular music. We emphasise the social semiotic functioning of string arrangements as styles, with style also being understood in the manner of Burke, and style names and definitions being drawn from a corpus analysis of string arrangements for popular music. We argue that, through a rhetoric of style, Eleanor Rigby made canonical claims against rock's cultural counterpart, classical music. We demonstrate the working of the rhetoric and its political implications in the context of the counter-cultural forces active during the mid-1960s.     

Schleiermacher and Post-Metaphysical Thinking

Abstract

Schleiermacher rarely features in the now widespread discussion of the relevance of the German Idealist and Romantic traditions for contemporary philosophy because he has mainly been regarded as a theologian and theorist of textual interpretation. This essay shows that his most important philosophical work, the Dialectic, involves many ideas concerning truth and language which are generally regarded as belonging to what Habermas terms ‘post-metaphysical thinking’. Schleiermacher's views of truth and language are contrasted with those of Habermas and Rorty, and are seen as being of more than merely historical interest. His reflections on self-consciousness are shown to raise important questions for contemporary accounts of the relationship of the subject to language.