“图书馆之城”向“读城”的进化与蜕变——深圳全民阅读推广法制化建设新进展

文章介绍了深圳全民阅读推广实践的现状,对《深圳经济特区全民阅读促进条例》的意义和亮点进行了解读,并分析了深圳图书馆、深圳少年儿童图书馆和深圳大学城图书馆在《深圳经济特区全民阅读促进条例》的指引和支持下进行的全民阅读推广新实践,展现了深圳全民阅读推广法制化建设的新成果。

首都博物馆“读城”系列研学项目的策划与解读

近年来,博物馆已成为我国研学旅行的重要目的地。在项目开展过程中,博物馆既可以作为承接方,也可以作为主导方,这给博物馆常规的开放和社教活动带来了新的挑战。"读城"系列研学项目是以首都博物馆为主导方的一次创新性尝试。基于对该项目的分析评估,博物馆配合及组织实施研学旅行活动时,应建立规范标准,提升社教活动的专业性、共享性和公平性,使博物馆研学真正做到"可游、可学、可思、可评"。

“读城记”:基于地域文化的项目化学习实践

江苏省南京市考棚小学立足地域文化,开展“读城记”项目化学习实践,促使学生在学科知识与生活实践的互通中,发展解决实际问题的能力,实现素养的生成。学校立足金陵文化,围绕“历史之城”“自然之城”“非遗之城”“创想之城”四个项目主题设计学习任务,通过“体验式”“思辨式”“探究式”“生成式”等学习方式来多样态实施研究项目,整合知识、能力与价值目标,贯通探究、合作与展示活动,融通学科、生活与社会实践,落实项目化学习的综合育人价值。

思维导图视角下的博物馆教育理念和实践创新再探讨——以首都博物馆“读城”项目为例

不断创新博物馆教育服务模式,在融入社会、服务社会的进程中以高品质、多元化的服务项目,实现博物馆教育职能的最大化,始终是博物馆人不断追求卓越的动力。实践中,如何把握核心受众定位,将碎片化教育活动建构成独具特色的主题教育项目,完善教育服务体系的持续性,可复制性等问题尚需突破。

读城,连接你我——首都博物馆“读城”项目发展理念刍议

"读城"是首都博物馆自2014年以来原创推出的一个专为青少年量身定制的大型互动体验教育项目,从三个维度展示了它的发展理念:基于一座特殊的城市博物馆,注重北京的城市文化挖掘和传播,以品鉴智慧北京为基础,以解读灿烂中华为主旨,以促进文明互鉴为己任;基于当代博物馆的发展趋势,努力践行"以人为本",强调以观众为中心并做到博物馆内人尽其才的资源配置;基于社会发展的时代特点,有意识、有规划、有方法地实现资源共享、全面共赢。

Psychological and Philosophical Readings of the Spectatorship of Bollywood and Indian Tamil Film in Sri Lanka

The objective of this study is to explore the psychic, moral, ethical and logical significances in the spectatorship of Bollywood and Tamil film in the Sri Lanka. Bollywood and Tamil film has been taking a very popular cultural performance in Sri Lanka. The original Indian spectatorship of these film traditions has been diverted by the cultural and political psychology of Sri Lanka. Hence, this local orientation of the Indian cinema remains a quite metamorphosis and deconstruction in its appreciation and screening in terms of the social, cultural and political features that deeply-rooted in Sri Lankan history, culture and geographical limitations. For this study, several film texts, which include typical Bollywood and Tamil film characteristic features were used and observed on how they have been absorbed in the Sri Lankan cultural society. And on the other hand, some audience surveys specific to different film appreciation contexts were conducted. They included urban slums, semi-rural Muslim societies, north and east areas of Tamil villages, Colombo urban society, Tamil state areas and Kandyan Sinhala rural villages. In the textual analysis of the film content, implicit psychological narrations and their social and aesthetic interpretations were revealed in the analytical explanations. Using the audience surveys, many different opinions that can be traditionally filtered in the screening and appreciation of these film traditions specific to their living cultural settings were also identified. In conclusion, perception in Sinhala film has been considerably designed by the experience of Bollywood and Tamil film spectatorship is deducted by this study. Hence, not only this social trend affected to the appreciation of film in local general audience but also in all the facets of film production （script writing, shooting, acting, dialoguing, music and choreography and screening） has also significantly being influenced by the Bollywood and Tamil film. As a result of this evolution of local film culture, most recent trend in Sinhala film noir is also being followed by the early subjective consequences of Bollywood and Tamil film culture in Sri Lanka.