试论案例教学法

案例教学法是现代教学方法的必然要求,传统的教学模式在价值目标、教学功能以及具体操作上存在诸多不足.案例教学法的实施在实现互动式的教学活动、促进学生的自主学习、达到教育的应然目的方面具有明显优势.     

任务型教学法对大学英语翻译教学的启示

根据大学生的群体特点及大学英语课堂的独特性,指出任务型教学法适应大学英语翻译教学改革的趋势,并详细阐述任务型教学法在翻译教学中的实施,对于提高学生的实际交际翻译能力有更积极的作用.     

高职法学教学中案例教学法的改进和优化

作为一种创新性的教学方法,案例教学法能实现教师主导地位与学生主体地位相兼顾、知识传授与能力培养相并举、法学理论与法学实践相结合.案例教学法的理念与高职法学教育特点非常契合,极其适应高职法学教学的需要.但目前人们所推崇的案例教学法并非完全适合高职法学教学,且实践中也存在着认识偏差、适用不当、自身缺憾等问题.要真正发挥案例教学法的功能,就需要对其加以改进和优化.     

英语课堂教学中的"外贸公司"

英语课堂教学中的"外贸公司"是对大学生外贸专业英语课交际教学法的一种尝试.在设计与运作过程中,以提高学生的英语综合实用能力为目标,把握一个指导原则,两个教学重点和三个教学环节.     

基于开放系统的教学情景设计

教学情景设计作为教学系统的组成部分是通过选择、创造、构建服务于学习的人为环境。好的教学情景总是有着丰富和生动的内容,不但有利于学生的全面发展,也有利于学生的个性的形成。理论和实践都证明,与真实情景相联系的教学情景不但可以激发学生的求知兴趣和探索欲望,而且能够促进学生对知识和方法的理解与掌握,在知识的获取过程中提高思维和认识能力。     

会计案例教学法的探讨

会计教育作为经济管理教育,在我国蓬勃发展,会计作为核心课程之一受到重视.然而会计教学需求的迅速增长与教学科研的滞后形成强烈反差.会计案例教学的尝试,有利于深化会计教学方法的改革,有利于培养学生的实际工作能力和知识综合运用能力,有利于提高师资的业务水平.     

词块教学法应用于大学英语写作教学的行动研究

区别于传统的教学模式,词块教学法在改善语言使用的连贯性、地道性、流畅性方面具有一定的优势.通过阶段性的课堂教学的行动研究,调查了解了学生的词块掌握能力;通过教学活动的不断调整和改进,试图寻找一种更有效的方法来提高学生的词块意识及其在写作中的词块运用能力.     

课程教学: 推进大学生社会化的应有途径

大学生社会化是高等教育的一项十分重要的任务.课程教学是教育教学活动最基本的形式和最主要的内容.其对大学生社会化的推进作用具有现实必然性.在课程教学中,采用情景模拟、案例讨论、现场观摩等教学法,拓宽课程教学内容,进行交往式教学,都是推进大学生社会化的有效方法.     

项目教学法理论及其在计算机课程中的实施——以中国劳动关系学院为例

项目教学法的理论基础是建构主义、人本主义、"从做中学"和多元智能主义,在高等教育和职业教育中应用比较广泛。在教学活动中引入项目教学法,构建教学情境,组建项目团队,实施包括选题立项、团队组建、项目实施、项目的验收评价各个环节的项目教学过程,可以有效提高计算机课程的教学效果。     

财务报表分析课程研讨式教学法研究

随着我国高校教学改革进程的不断深化,研讨式教学法逐渐应用到教学过程中。梳理研讨式教学法在我国高校教学实践中应用的研究现状,探讨如何将研讨式教学法运用于财务报表分析课程的教学过程,指出实施研讨式教学法需要解决的难点问题,对于改进教师的教学方法、提升学生综合素质具有一定参考价值。     

Introduction to queer circuits: Critical performance and digital praxis

This introduction situates the articles making up this special issue within four thematic clouds, positing queer theorization as broadly relevant for critically engaging with computational technologies and culture. These sub-themes offer suggestions for future queer inquiry and praxis and reflect key terms in performance studies and queer theory that have undergone transformation with the ubiquity of digital technology.     

Women,Science and Culture: Science in the Nineteenth-century Periodical

The Victorian periodical press offers unique insights into many diverse areas of nineteenth-century experience, and the complex relations between gender, science and culture in particular, yet it has been consistently marginalized as a primary resource in academic study. The Science in the Nineteenth-century Periodical (SciPer) project at the universities of Sheffield and Leeds is creating a new point of access to a wide range of non-specialist periodicals across the century by means of a fully searchable electronic index. By detailing the entire contents of each journal, and not just those articles that have a clear scientific relevance, it becomes clear that science formed a fundamental and integral part of nineteenth-century culture. The electronic index, moreover, will include hypertext cross-reference links that will allow the user to identify a dialogic pattern of encounters between ostensibly diverse articles, rather than only to browse in a simple chronological mode. By adopting this innovative approach, the SciPer database will reveal the manifold intertextual relations between the fictional works of women writers like Elizabeth Gaskell and the scientific articles that often appeared in the pages of the same magazines, and will show that writers of both sexes and across several different genres actively engaged in vibrant interdisciplinary debates concerning scientific issues in a forum provided by the periodical. Although the SciPer database itself is not specifically focused on issues of gender, the index will include several periodicals aimed explicitly at a female readership and, by providing access to titles still rarely utilized in modern scholarship, it will offer further insights into the important contemporary debates about women and science, as well as the more subtle ways, in which gendered imagery was employed within scientific discourse. This article details some critical findings from Punch , The English Womans Domestic Magazine , Cornhill Magazine and the Review of Reviews .     

Carnal teachings: raunch aesthetics as queer feminist pedagogies in Yo! Majesty's hip hop practice

This essay puts forward a notion of “raunch aesthetics,” theorizing raunch as an aesthetic, performative, and vernacular practice: an explicit mode of sexual expression that transgresses norms of privacy and respectability. Raunch aesthetics describe creative practices that often blend humor and sexual explicitness to launch cultural critiques, generate pleasure for minority audiences, and affirm queer lives. The author activates her formulation of raunch in analyzing Yo! Majesty, a hip hop group comprised of black female emcees who openly describe their sexual desire for women, and explores how the queer youth of color she works with have responded to their music. Working beyond the unexamined moralisms that give critiques of raunch culture their legitimacy, the author argues that Yo! Majesty's raunch aesthetics transmit queer and feminist teachings. While celebrating carnal pleasures, these artists critique heterosexism, subvert narratives about the incompatibility of belief in Christ and queer sexualities, and trouble notions concerning the emancipation of coming out of the closet and declaring a stable homosexual identity. In demonstrating how raunch aesthetics generate consciousness raising, the author discusses how her youth participants critically read and consume hip hop while negotiating unwieldy meanings of sexuality and gender presentation.     

Feminism, Aestheticism and the Limits of Law

This article seeks to identify and address the normative void that resides at the heart of postmodernist-feminist theory, and to propose a philosophical framework – beyond postmodernism, but incorporating its central insights – for thinking through the normative questions with which feminists are inevitably confronted in their engagements with positive law. Two varieties of postmodernist-feminism are identified and critically analysed: the ‘corporeal feminism’ of Elizabeth Grosz and Judith Butler, which seeks to ground feminist critical practice in the irruptive capacities of the material body considered as an arte fact of social construction; and the deconstructionist feminism of Drucilla Cornell, for whom ‘the feminine’ is an indeterminate but disruptive force beyond its construction in law and in other social sites. The first component of the argument elaborated here is that each of these approaches ultimately reduces to a form of aestheticism which is incapable of generating a worthwhile and workable feminist approach to the restructuring of politics and law. The second component of the argument involves a return to aesthetics, in particular to the philosophical aesthetics of Kant’s Critique of Judgement. Kant’s aesthetic philosophy, it will be suggested, yields a framework of concepts which, duly re-manipulated, could speak to the very concerns that have inspired postmodernist-feminism: how to attend to (bodily) particularity while avoiding the dangers associated with ‘essentialism’; and how to theorise the propensity of the unrepresentable power of the feminine to exceed both embodied human capacities and the confining rein of socially privileged rationalities. Crucially, however it also responds to a set of preoccupations – those of the feminist lawyer – that cannot be accommodated by postmodernism: how to translate embodied experience into (legal) norms; generalise from the particular; seek consensus; and codify an endless potentiality in the form of law. This revised version was published online in July 2006 with corrections to the Cover Date.     

The Unexpected: Bionic Woman at the Millennium

Wilfred Bion's A Memoir of the Future provides a point of departure for feminist thinking about the millennium. Bion problematizes hopes for the future and associates thought with catastrophic change. Women play an unexpected role in Bion's experimental autobiography, posing provocative questions and unsettling the status quo . Since Bion has little to say about women in his clinical writings, A Memoir sheds light on his thinking and on the post-Kleinian culture of the 1970s. Book I of A Memoir depicts a class- and sex-nightmare played out between men and women, and women and women, in an age of anxiety whose setting appears to be the fascist 'pacification' of Middle England during an unspecified period. In this hallucinatory drama, all encounters are reduced to a brutal fiction of dominance and submission. The violence of the action suggests the primitive mental world of psychosis. Book II of A Memoir satirizes 'the brilliance of masculine thought' through the voices and criticisms of women. But this is the purgatorial movement of Bion's autobiography, inhabited by 'idées mères' (untransformed beta-elements) and haunted by the ghosts of Bion's traumatic war-time experience. A monstrous plot is hatched to kill primitive, fascistic Man, who retaliates and takes the female spoils. Is this the prelude to catastrophic change? Book III stages a country-house debate between different characters who represent aspects of Bion's personality, recapitulating the concerns of his later writing. The debate includes a meditation on childbirth as compared to war trauma, but Bion takes his distance from feminine intuition or common sense. Women fight on both sides of the barriers in the Bionic revolution - becoming, however, figures for the 'unexpected' and precursors of emotional upheaval. The gendering of millennial thought in Bion's Memoir provides an opportunity to scrutinize our own unthought fantasies of change.     

Beyond the scarcity scare: reframing the discourse of hunger with an eco-mind

Solutions to world hunger continue to be impeded by a frame – a set of assumptions – that keeps much of humanity focusing narrowly on quantitative growth. The result is greater food production and greater hunger. Yet, across the world another way of seeing, one grounded in the relational insights of ecology, is transforming food systems in ways that both enhance flora and fauna and strengthen human relationships, enabling farmers to gain a greater voice in food production and fairer access to the food produced.     

Here be monsters: a choreomaniac's companion to the danse macabre

Consider this a vade mecum: an invitation to “walk with me” through more or less uncanny terrains of worlds in the making in search, of(f) course, of monsters. The search will be delving into the areas of “creepypasta:” pieces of cursed prose and pictures that circulate online, waiting to contaminate and possess the next reader. Using a theoretical framework of posthuman and feminist theory, not least the work done by Jacques Derrida and Donna Haraway, this vade mecum asks what it might mean to engage ethically with that which is not supposed to exist, but which haunts us nonetheless. In other words: what does it mean to move, live and engage with spectres in digital times?     

The Impersonal Strategy: Re-visiting Virginia Woolf's Position in The Common Reader Essays

The concept of impersonality as a writer's strategy has been exposed to misinterpretations that either fail to exhaust its full meaning and deposit an unequal amount of attention on all components of the term or, in the worst case, tend to distort its true elements. In relation to Virginia Woolf's criticism, in particular, it is a critical commonplace that the author employed an impersonal position in order not to fully materialise her feminist vision, but to shy away from explicitly expressing her feminist convictions and openly supporting women's rights. Indicative of this is the criticism that suggests disapproval of Woolf's reluctance to side with her own gender and declare the power of female personality.

The aim here is to challenge such critical views, separate the discussion of impersonality from its association with that of androgyny, and re-visit the issue of Woolf's employment of the impersonal strategy. I examine two of Woolf's essays on nineteenth-century women writers included in her first volume of The Common Reader and offer an analysis from both a gender-oriented and a genderless angle. Woolf's strong affinity with female conditions of oppression, her modernist convictions, her need to compromise with the male-dominated context of the time and her concurrent urge to co-operate with the common reader of an unspecified sex for the sake of artistic creation reveal more complex reasons behind her intentions than those examined by critics so far.     

The Liquefaction of Desire: Music,Water and Femininity in Victorian Aestheticism

This article reconsiders Victorian images of mermaids and sirens through a detailed examination of two images: Frederic Leighton's Lieder ohne Worte (1861, oil on canvas, Tate Britain) and Edward Burne-Jones's The Depths of the Sea (1886, oil on canvas, private collection). It demonstrates that the themes of water, music and femininity were entwined in the Victorian imagination, by setting these two paintings within the context of Victorian artistic, literary and cultural production. It shows that musical images were prevalent in the emerging Aesthetic movement. Musical subjects freed artists and audiences from the conventions of narrative interpretation, and allowed them instead to concentrate on exploring mood and colour.

Pictures of mermaids add a further twist to the Aesthetic preoccupation with music. This article reveals that mermaids made explicit the underlying connection between musical performance and sensuality. It also suggests that the idiosyncratic depiction of the mermaid by Burne-Jones and the ambiguous sexuality of Leighton's figures could be read as symptomatic of changing conceptions of desire. It argues that these images embodied the shift from ardour to libido. In other words, love was no longer described as burning and fixed, but as fluid and shifting. This transformation in the way desire was theorised was most urgently presented in Freud's Three Essays on Sexuality (1905). However, this article suggests that the same ideas were being made visible in Aesthetic art and writing from the mid-nineteenth century.     

Beyond the Millennium: Black Women's Writing

Nasta's piece forms part of an oral contribution to the plenary session of the conference in which a variety of speakers discussed the many questions that the conference had raised. It focuses specifically on the location and history of black women's writing in Britain and attempts to address issues that have dominated critical and theoretical discussion for some years. The question as to how far we have moved on in our reading and assessment of these literatures is discussed; also the fact that perhaps debates we now see as being contemporary were also current in the experiences of earlier representations of Britain from a black or Asian perspective. Nasta makes some tentative suggestions in terms of how we might move forward.