Popular culture in chinese school curriculum--论文代写范文

课程改革的核心是要培养先进文化传播。应该有一个更加综合的方法来帮助学生解决社会和日常生活的问题。新的教育理念、创新的课程,尊重和鼓励学生的独立,从他们的活动和文化视角看待,提出一个更广泛的社会意义。下面的paper代写范文进行论述。

Introduction
  Unlike during the Mao era, when educational development was wholly administered by the central government, there has since been a compelling tendency to decentralise and diversify education in accordance with the general shift towards a market economy (see Law, Forthcoming; Turner and Acker, 2002). The reform was launched on a trial basis in 2001, when the Ministry of Education issued a circular entitled ‘Guidelines for Curriculum Reform of Basic Education’. Now curriculum reform was expected to emphasise the importance of bridging the distance between schools and society, and enabling students to acquire an ability to do practical work while accumulating the necessary knowledge to be useful to society (Xinhua News Agency, 6 October 2005; also see Huang, 2004). The aim of current educational change is also to make education more pleasant, more useful and, above all, to challenge students to think for themselves (see Lu, 2000; The Economist, 25 January 2003). Professor Liu Jian, assistant director of the National Centre for School Curriculum and Textbook Development under the Ministry of Education, said that the core of the curriculum reform was an attempt to cultivate “new, advanced cultures and concepts to spread in schools and the society at large …” (Xinhua News Agency, 6 October 2005). There should be a more integrated and life-oriented approach to help students solve social and daily life problems. 

  On this account, a new educational philosophy, innovative curriculum materials and the renewal of educational experience, along with respect for and encouragement of students’ independence, their activities and cultural perspectives, suggest a more expansive social sense. In respect to curricular reform in the new century, this section explains the learning areas that integrate popular culture into the school curriculum. These reforms cover the revision of textbook reading materials in the Chinese language and other areas, the subject of music, new textbook materials for sex education, and the inclusion of online learning materials and other software for general education. These revisions and newly published materials are very significant for this paper, because they relate the world in which students live to what they are learning, and bring the culture they know into the classroom. 

  In China the state, as the sole authority to create and approve textbooks, has a role to play in the curriculum development process because it has significant leverage over publishers with respect to school textbooks. Since 1949, the Chinese Communist Party has reinforced collectivism as the only correct value to be prescribed by school textbooks. Under the new system, however, the China state, or the local government in question, only approves textbooks; while any individual or institute is empowered to produce and distribute textbooks after approval (Huang, 2004). Recent examples have spawned much debate on revisions of textbooks for Chinese language, sex and music education. As argued by Li (2004), Chinese textbooks should not only include “heroes of bygone times”, but also contemporary heroes (p. 343). 

  Today, China’s citizens should be seen in modern terms, and education should aim to develop a ‘modern consciousness’, a ‘modern moral character’, and a ‘modern intelligence’ (Huang cited in Huang, 2004, p. 104). By early 2005, a newly-updated Chinese language textbook for fifth grade pupils in Shanghai drew controversy by including photographs of Liu Xiang, the Shanghainese men’s 110m hurdles champion in the Athens Olympic Games. At the same time, a text titled Five Heroes of Langyashan (a story about five soldiers of an army under the leadership of the Chinese Communist Party from 1937 and 1945, who fought bravely during the Sino-Japanese War) was removed from a new edition of a Chinese textbook published in Shanghai. The editors revealed that the removal of the five heroes’ story was due to society’s increasing need to keep in touch with contemporary China’s heroes, such as Liu Xiang or the NBA star Yao Ming, since these would elicit more interest (Feng, 2005; also see Beijing Review, 16 May 2005). According to a questionnaire survey conducted by the All-China Women's Federation (ACWF), Chinese secondary school students from six Chinese provinces and the cities of Beijing, Shanghai, Henan, Shanxi, Liaoning and Hunan, aged between 13 and 18 years, rated Liu Xiang to be the fifth most popular hero among 443 boys and 575 girls (China View, 27 May 2005). It is argued that young people today can learn about modern heroes from the mass media, and that textbooks should, given contemporary social changes, remove the stories of the five heroes of Langyashan because they are so distant from students’ modern life (Beijing Review, 16 May 2005).

  The martial art fictions in new Chinese school textbooks have also given rise to heated debates in the school curriculum. The two excerpts of the Chinese language that have drawn most debate are excerpts from Wang Dulu's Crouching Tiger, Hidden Dragon, which won an Oscar for Best Foreign Film of 2000, and The Demi-Gods and the Semi-Devils (Tian Long Ba Bu in Chinese), by Hong Kong martial art novelist Jin Yong. The popular selections appear in two separate lessons of a Chinese textbook for senior middle school students under the category of ‘Magical Martial Arts’. The selection was well received among Chinese students. In a Sina.com fast vote, 81.6 per cent of the 18,794 voters expressed their support for the new textbook as part of reading assignments for middle school students (Xinhua News Agency, 3 March 2005). Liu Ximing, a research fellow with the Education Science Institute of the Beijing People’s University, said that martial-arts stories promote the triumph of good over evil, and thoughtfulness for the poor and weak, both of which are supported in school education (Xinhua News Agency, 3 March 2005). Currently, the most controversial change for Chinese scholars is a cartoon version of advocated textbook materials. Twelve well-known Chinese writers’ newest creations are intended to be processed into cartoon plays by six domestic cartoon companies, and will cover a wide range of subjects including ancient poems, fairy tales and foreign novels (Xinhua News Agency, 13 October 2005). 

  Because love and sex were not open to public discussion in traditional Chinese culture, students received inadequate sex education. Though the Chinese government maintains an active interest in preventing users from viewing certain web content, both sexually explicit and non-sexually explicit, students still have access to sexual websites. According to an official survey, 80 per cent of Chinese middle school students obtained their sexual knowledge, not from their schools and parents, but from books, magazines, TV programs, and the internet, all of which are likely to be disingenuous (People’s Daily News, 23 November 2001). In the academic year of September 2004 more than 50 Shanghai secondary schools adopted new Chinese textbooks on love that were based on stories and poems by both ancient and contemporary Chinese and foreign writers (People’s Daily News, 1 September 2004). These textbooks were intended to provide better understanding of beautiful human feelings, and encouraged students to hold frank discussions about love. The TV series entitled How Can I Tell You This?, which was presented by a group of junior high school students in the eastern province of Jiangxi to generate the whole society to look out for children’s sexual health, received widespread attention in 2003. In order to improve poor sex education, comprehensive courses have been made available in middle schools in more than ten major Chinese cities, including Chongqing, Guangzhou, Harbin, Shanghai, Wuhna, and Xi’an since 2001. 

  These cities produced their own textbooks on sexual behaviour, ethics, procreation and contraception, anti-drug warnings, and AIDs prevention. A textbook titled Thoughts for Teenagers was introduced to high schools in Ningbo, which is in China’s eastern Zhejiang province (China Daily News, 10 September 2004). Borrowing the idea from South Korea’s series of books entitled, I Want to Know Myself, which was popular among primary and middle school students, China published its first cartoon book series on puberty and sex education in April 2002. China translated the books and revised some contents to suit the needs of Chinese young people (Xinhua News Agency, 26 December 2004). The Ministry of Education has broken the nation’s thousand-year-long taboo by adopting popular culture to promote the formal educational discussion of sex.

  For a long time popular culture was prohibited in China’s school music education for fear of spiritual pollution by Western culture, against which, furthermore, mainland China introduced a strong revolutionary orientation (Ho, 2003; Ho and Law, 2004a, 2004b). The renewal of music practices and materials in school music education has come about because of rapid changes in Chinese society. A love of Western musicals has swept the cities. For example, Les Miserables was given 21 performances at the Shanghai Grand Theatre and The Phantom of the Opera was given 96 in 2002 and in 2004 respectively (China Daily News, 16 December 2004). In response to the popularity of Western musicals, the Shanghai Conservatory of Music and the Shanghai Theatre Academy introduced a new major in musicals in 2002. The inclusion of songs from popular Western musicals and Taiwanese popular songs is certainly a step towards learning about students’ interests. A few songs in English are included in the textbook materials, such as ‘Do You Hear the People Sing?’ and ‘Any Dream Will Do’ from the musical Les Miserables; ‘Hand in Hand’, the theme song for the 1988 Olympics in Seoul; ‘Power of the Dream’, the closing song for the 1996 Atlanta Olympics; and ‘A Whole New World’ (composed by Alan Menken with words by Tim Rice) (Shanghai Educational Publisher, 2004; Shanghai Music Publisher, 2004; Xiaonian Yitong Chubian She, 2003; also see Ho and Law, 2006). The inclusion of music identified with sport in the textbook materials echoes the educational missions of the 2008 Beijing Olympic Games. Despite political dilemmas between China and Taiwan, mainland textbooks include the song ‘Tomorrow Will Be Better’ by Taiwan’s songwriter Luo Tayu (Shanghai Music Publisher, 2005; Shaonian Ertong Publisher, 2002); and the newly compiled list of 100 patriotic songs for Shanghai secondary schools has sparked controversy because it includes some songs that encourage individualism rather than a traditional collectivist and heroic dedication to society. The most controversial song in this collection is ‘Snail’ by the popular Taiwanese singer Jay Chow, the lyrics of which encourage young people to pursue their own success in difficult times.(paper代写)

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