毕业论文-浅谈幼儿园自制玩教具的开发与应用.doc

浅谈幼儿园自制玩教具的开发与应用 学 院 专 业 学 号 学 生 姓 名 联 系 方 式 指 导 教 师职称： 年 月 日摘 要利用各种废旧生活材料或自然材料制作的玩具既能节能减排废物利用又能达到因材施教的目的，是一种全新的玩具观念。自制教玩具的根本目的是为了能让幼儿在自制过程中发展自己各个方面的能力，让幼儿在充分的活动中得以满足，获得知识，提高技能。一个成功的自制玩教具，必备的因素有合适的材料、巧妙的设计方法以及研究的教育设计策略和可行的教育措施。同时自制的玩教具的设计要能充分的发挥教育的优势，要根据幼儿发展需要和教育需求加以巧妙的设计，已达到有效的开展教育活动，以促进幼儿教育的发展。关键词：玩教具；自制；设计；开发 AbstractNowadays,usingvariouskindsofwastematerialsfromdailylifeandthenaturetomaketoysandteachingaidshasbecomeanewtoy-makingconcept,whichisinternationallypopularized.Thepurposeofmakinghomemadetoysandteachingaidsistodevelopchildrenscomprehensiveskillsintheprocess,satisfythembysufficientactivitiesandtogainknowledgeandskillsaccordingly.Appropriatematerials,ingeniousdesignmethods,rigorousstrategyofeducationaldesignandworkableeducationalmeasuresaretheindispensiblefactorsformakinganidealhomemadetoy.Basingontheneedsofchildrensdevelopmentandeducation,thehomemadetoysandteachingaidsdesignshouldgivefullplaytoeducationalfeaturesandmakefulluseoftheeducationalfactorstoundertakeeducationalactivities,目 录一、自制玩教具的意义1（二）从教师的角度看2（三）从家长的角度看2三、自制玩教具的设计原则2（一）教育性2（二）科学性3（三）趣味性3（四）创新性3（五）简易性3（六）安全性3四、自制玩教具的材料及方法4（一）自然类材料4（三）布、线类材料4（四）塑料类材料5 参考文献68幼儿教育是基础教育的有机组成部分，幼儿教育的现状直接影响到未来人材资源素质，幼儿教育应受到全社会高度重视和关注。然而与此同时幼儿园的玩教具成为了幼儿教育中重要的学习资源，也对幼儿的身心发展和认知发展具有重要的作用。因为幼儿对玩教具材料的操纵活动，是幼儿感知和发现问题的途径，可以丰富幼儿的感性经验，能形成多种操纵性学习方式，能开展创造性学习活动，同时也是幼儿创新意识、实践能力的培养途径。一、自制玩教具的意义幼儿园自制玩教具，是一种教学或辅助教学的用品，它是教师根据教育需要和幼儿发展需求，对各种自然资源和材料，进行收集、分类、加工、改造、组合，重新进行玩具教育因素设计后的产物。是一种创造性的活动，由于材料的形状、用途的不固定和玩教具玩法的不受限制。这样启发性较大，联想的范围较大，探索余地较宽，容易引起幼儿的好奇心和探索行为。从改革教学方法的角度看，它会比一般的教具更具有教育的针对性，更能体现幼儿的发展需要。这样的特点既发挥了师幼的主动性、创作性，又提高了幼儿活动的兴趣，便于幼儿的身心发展，这对幼儿园开展园本课程和特色校园的文化建设起到了重要的作用。二、自制玩教具的作用（一）从幼儿的角度看第一，幼儿身心发展的特点决定了他们不能通过长时间静坐听讲，需要以观看教师演示的方式来学习。第二，幼儿在使用玩教具的过程中，遇到困难需要解决时，要通过不同的实验反复解决问题，这个决定问题的过程就锻炼了幼儿小制作活动的基本能力。在反复操作中，也可以培养幼儿的良好个性，而且可以增加求知欲和增强自信心。对幼儿的身心发展都有较好的发展和重要的作用。第三，教师在指导幼儿自制玩教具的过程中，引导幼儿收集资料，可以使幼儿辨认、分类、准备和了解废旧材料的回收使用价值。第四，自制玩教具的过程可以培养幼儿的合作能力。幼儿制作玩教具是在教师和家长的配合下完成的，教师或家长便成为了幼儿的合作伙伴。这样幼儿通过交流合作，就会学着谦让、谅解、友善和团结互助。这样可以帮助幼儿在其他活动中更好的与伙伴交往与合作。（二）从教师的角度看1.提高教师的专业水平。教师在让幼儿制作玩教具前要做多种准备活动，这样就要求教师应了解各种玩具和研究玩具等，课下不断的充实自己，更新自己的知识体系，然后根据自己所带班级幼儿的发展水平制作出适合的玩教具，这个制作的过程就是教师提高自我专业水平的过程。2.增进师生之间的感情。自制玩教具是教师了解当前幼儿各方面的发展状况的过程。在制作玩教具的过程中，通过教师传授制作方法、经验和共同制作，成为幼儿的指导者和合作伙伴，便于更好的与幼儿沟通，也让幼儿更多的了解教师，增进师生之间的感情。（三）从家长的角度看1.家长和教师的交流合作。自制玩教具对家长来说是家园同步。幼儿在幼儿园的自制材料很多都是由幼儿家长带来的，这有利于家长了解幼儿园的教学活动，了解游戏对幼儿的重要意义。2.增进亲子之间的感情。自制玩教具就给家长提供了一个与幼儿沟通的桥梁，在制作的过程中通过互相的探讨、研究、交流，家长开始了解幼儿的想法，鼓励幼儿积极思考，能够自己独立地解决困难。家长在引导幼儿的过程中应多鼓励幼儿，要让幼儿体会到与父母在一起做玩具的乐趣，从而增进亲子之间感情。三、自制玩教具的设计原则（一）教育性教师可以通过自制玩教具可以鼓励幼儿积极主动地参与活动，这样有益于幼儿身心健康和全面发展。教师在制作前要根据课程教材考虑自制玩教具适宜的“用途”，把“做”和“用”相结合才能发挥自制教玩具的真实价值。（二）科学性教师在设计构思自制玩教具时，应注意知识，概念与原理的正确性。符合幼儿身心发展的特点和水平。这样设计出的自制玩教具才会科学合理，适合幼儿的成长与发展。（三）趣味性学习的第一步是兴趣，这要求自制玩教具要符合幼儿的审美情趣，来源于幼儿的生活，能激发幼儿的活动兴趣，这样幼儿才能积极配合，有助于教学过程的进展。（四）创新性自制教玩具是为了弥补成品玩具的不足而设计的，单纯的模仿只会让自制玩教具变成一种摆设。那就要求自制玩教具构思要新颖，外形要独特，这样能激发幼儿的想象和创造。（五）简易性教师就应注意就地取材，成本低廉。以最低的成本制作成最适合教学的玩教具。而且制作方法应简单，不能浪费过多的精力，这样也会耽误其他的正常工作。至于使用方面，应考虑幼儿的年龄特点，制作方便、可操作的实用性玩教具。（六）安全性由于幼儿在日常生活中与教玩具接触机会很多，可能会使幼儿受到伤害，还可能成为传播疾病的媒介。所以一定要符合安全标准和卫生要求。四、自制玩教具的材料及方法自制玩教具最重要的就是选材，那就要求教师有充分的想象力和创造力把生活中的“废垃圾”变成人见人爱的玩教具。选材虽然重要，但是堆了好多材料后，教师就应区分这些收集的材料，并分类，根据材料来研究制作的方法了。（一）自然类材料生活中常见的材料有许多，例如：沙土、水、树叶、果蔬皮、壳、树叶、树枝、花瓣、菜根等，教师可以根据它们各自的特性，稍加制作，就可以分别运用于不同的教学活动中了。例如：幼儿可以制作树叶书签；贝壳和石子上可以作画，也可以做粘贴的壁画；菜根也可以做成印章，既可以运用于教学，也可以适用于游戏活动中，都是很好的选择。（二）纸制品、印刷类材料教师可以在生活中收集的纸盒、礼品包装盒、报纸、纸箱、纸质手提袋等。这也便于自制玩教具的制作和运用。例如：在语言领域，多选用图片类的玩教具，教师在自制过程中应做到尺寸适宜、形象逼真、色彩鲜艳。制作方法可以运用纸张来绘画，然后裁剪或粘贴等。图片类玩教具种类多样，根据页数分类分为：单幅单张和多幅连续两种。利用废旧的纸盒可以制作单幅单张的字卡，可以帮助幼儿学习单词和生字；也可以制作多幅连续的图片，这样适合幼儿进行故事欣赏、句型练习、对话练习、讲述复述等。这样既丰富了活动，也增加了教学和生活的趣味性。（三）布、线类材料作为幼儿园搜集这类材料比较困难，但是教师可以留意搜集一些旧衣、旧床单、旧毛线、旧T恤、孩子的小白鞋等材料。教师可以运用这些素材，使各个教学领域的活动环节变得顺畅和有趣味性。例如：在社会领域教学时可能因为玩教具的缺乏，导致课堂教学难以理解，教师应自制一些符合教学题材的玩教具，就可以使抽象的道理变得浅显易懂。教师可以利用布、线制作成玩偶类的玩教具。玩偶具有可爱、生动、操作性强的特点。这样可以是乏味的道理充满趣味性。（四）塑料类材料生活中塑料制品比较容易搜集到，塑料杯、塑料瓶、塑料盆、筐篓、塑料袋等也比较常见。教师可以根据塑料的防水和可塑等特性，将其制作为具有特色的玩教具。例如：在科学领域教师利用自制的科学玩具，可以让幼儿在玩中感知身边的科学。例如：讲述空气这个抽象的名词，教师可以用铁丝、塑料瓶、细线、纸做的小鸟等，通过实验使幼儿了解空气的存在。参考文献1李季湄.幼儿园教育指导纲要（试行）解读M.江苏出版社，2002，（4）：58-112.2苏婷.让自制玩教具成为“常青树”N.中国教育报，2004，（6）3鲍小如.徽州地区举办自制玩具展览J.安徽教育，1980，（4）：40-43.4谢宁.基于游戏共同体的幼儿园自制玩教具研究D.南京师范大学，2007.;为你提供优秀的毕业论文参考资料，请您删除以下内容，O(_)O谢谢！A large group of tea merchants on camels and horses from Northwest Chinas Shaanxi province pass through a stop on the ancient Silk Road, Gansus Zhangye city during their journey to Kazakhstan, May 5, 2015. The caravan, consisting of more than 100 camels, three horse-drawn carriages and four support vehicles, started the trip from Jingyang county in Shaanxi on Sept 19, 2014. It will pass through Gansu province and Xinjiang Uygur autonomous region, and finally arrive in Almaty, formerly known as Alma-Ata, the largest city in Kazakhstan, and Dungan in Zhambyl province. The trip will cover about 15,000 kilometers and take the caravan more than one year to complete. The caravan is expected to return to Jingyang in March 2016. Then they will come back, carrying specialty products from Kazakhstan A small art troupe founded six decades ago has grown into a household name in the Inner Mongolia autonomous region. In the 1950s, Ulan Muqir Art Troupe was created by nine young musicians, who toured remote villages on horses and performed traditional Mongolian music and dances for nomadic families. The 54-year-old was born in Tongliao, in eastern Inner Mongolia and joined the troupe in 1975.He says there are 74 branch troupes across Inner Mongolia and actors give around 100 shows every year to local nomadic people. I can still recall the days when I toured with the troupe in the early 80s. We sat on the back of pickup trucks for hours. The sky was blue, and we couldnt help but sing the folk songs, Nasun says. The vastness of Inner Mongolia and the lack of entertainment options for people living there, made their lives lonely. The nomadic people were very excited about our visits, Nasun recalls. We didnt have a formal stage. The audience just sat on the grass. Usually, the performances became a big party with local people joining in. For him, the rewarding part about touring isnt just about sharing art with nomadic families but also about gaining inspiration for the music and dance. Ulan Muqir literally translates as red burgeon, and todays performers of the troupe still tour the regions villages and entertain nomadic families, but their fame has spread around the world. On May 16 and 17, nearly 100 singers and dancers from the troupe performed at Beijings Poly Theater. Their show, titled Ulan Muqir on the Grassland, depicted the history and development of the art troupe. Being from the region allowed me to embrace the culture of Inner Mongolia and being a member of the troupe showed me where I belonged, Nasun, the art troupes president, who is also a renowned tenor, tells China Daily. During a tour in 1985, he went to a village and met an elderly local man, who told him a story about his friendship with a solider from Shenyang, capital of Northeast Chinas Liaoning province, decades ago. The solider gave the old man a handmade saddle when they bid farewell. The story inspired Nasun to write Carved Saddle, a song that later became one of his most popular numbers. Now, every year, Nasun recruits young singers and dancers for the troupe. The troupe has also designed a new repertoire, which is mostly based on the daily lives of Mongolian people, especially the lives of nomadic families, and has combined contemporary musical elements with folk songs of the region. Haimu, a 25-year-old khoomei (a local variant of overtone singing) singer, joined the troupe three years ago. Along with a six-member band, he performs fast songs and soft ones that he writesall while playing the horse-head fiddle.Although I learned the piano since childhood and grew up listening to various kinds of music, to me, the folk music of Inner Mongolia is the root, he says. Performing in remote villages is pleasant. I feel at home on the boundless grasslands, and the warm people there make me feel fulfilled. The first round of spring auction season in Beijing ended last week, but it failed to create much spring in the art market. Although two pieces of Chinese painting fetched more than 100 million yuan, the decline in trading volume and sale rate showed a downturn this year. In the “Grand View: Chinese Painting Highlight” session at China Guardian 2015 spring auctions, Pan Tianshous representative work Eagle, Rock and Flora hit a record auction price of 279 million yuan, while Li Kerans masterwork Jinggang Mountain fetched 126.5 million yuan, an unexpected high in recent years. However, the trading volume fells to 1.87 billion yuan from 2.22 billion yuan in the same period the year before. The Huangchen 2015 Spring Auctions, which recorded 42.5 million yuan in total sales, experienced the same. The section number went down to 5 from 12 compared to last year. According to expert Shao Jianwu, the art market did not attract much excitement this year due to the booming stock market and the persistent problems of forgery and fake deals. The two pieces of Chinese painting notched up high price this spring due to their own value not due to a revival in the market. The successful transaction of two works with a hammer price of more than 100 million yuan once again confirms that valuable and rare works of high quality always earn the long-lasting high price. Chinese painting and calligraphy is still the pillar of the market. However, the overall sales rate has dropped slightly, which reflects the demand for the ordinary auction goods has weakened,” said the president of China Guardians Hu Yanyan. Besides, the entry of new buyers also makes certain changes to the direction of purchasing. In a word, the overall market trend is very unpredictable. Although China Guardian 2015 Spring Auctions has achieved remarkable results, it does not mean that the market has walked out of the predicament. We still have to wait for the big economic boom to invigorate the art market.” Even so, the hot pursuit of some special items appeared this spring. A special session of China Guardian Spring Auctions titled “Fine GiltBronze Buddhist Images” achieved a great deal with total sales volume of 41.89 million yuan and 92 percent sale rate. The 5th Shamar Rinpoche Statue from 16-17th century of Tibet was sold for 5.06 million yuan. The Beijing Chengxuan Auctions featured almost 2,800 items of coins and stamps in three sessions with good sale rate. The Huachen Auctions also set a special session of photographs under the condition of large-scale decline of auction sessions. There was a palpable dull thud of disappointment that accompanied the return of the imperial entourage of Zhen Huan to her homeland. It followed a couple years of hushed excitement as Chinese fans were fed tidbits about their proud concubine who was supposed to conquer the high ground of the North American market. Zhen Huan is, of course, the title character of The Legend of Zhen Huan, a 2011 television series that swept China off its feet and later took other Asian countries by storm. Two years ago, it was reported that HBO, a premium cable service headquartered in the United States, was going to air it in North America after some modification. Now, a condensed version that provides English subtitles but no dubbing has finally been made available on Netflix for online streaming. This version, highly anticipated as a milestone in Chinas cultural foray overseas, has been widely panned by its home audience. Retitled Empresses in the Palace, the American version has been shortened from its original 76 episodes at 45 minutes each, to six 90-minute episodes. The quick pacing threw off many native viewers, who are accustomed to a more leisurely daytime-soap-style narrative rhythm. (Chinese TV stations would run two or three episodes every day.) I did not finish the full-length version and found the truncated one not difficult to follow. Whats lost, I believe, are the interesting setups and pauses that illuminate the Chinese art of storytelling. Much of the plot is still there. It is the flavor that was sacrificed. The American edition uses the framework of the Empress Dowager in her senior years reminiscing at the beginning and the end of each episode, hinting at whats to come and recapping the key points. This device, not used in the original, is culturally understandable but artistically mediocre. What puzzles me is the two new songs for the opening and end credits. They were written in English, but sung by Chinese with an uncomfortable accent. They were obviously designed to appeal to an English-speaking base, but do not jibe with the Chinese dialogue. Speaking of the dialogue, the English translation, picked apart by some Chinese, is too literal for my taste. I can imagine a typical American hit by a flurry of royal ranks, addresses and greetings, even multiple names and titles for the same person. The first half hour must be a swamp to wade through, very much like my experience of getting through a Tolstoy tome with its endless inflections of names transliterated into lengthy Chinese. I see the choice of verbatim translation as an effort for conveying exotica. It is fairly competent, with no error that I could detect, but fails to rise above words or capture the essence of the language. A cultural product usually crosses over to a foreign territory first by an emphasis on the commonalities. But whether inside or outside China, the temptation to sell it for the differences is just too great. Sure, the sumptuous sets and costumes are a big attraction, but the narrative technique has becomehow shall I put it?a bit anglicized, which is necessary for cultural export. Judging by the responses, this legend, which, contrary to the claim of the English trailer, is totally fictitious, has departed from China but not yet landed on American shores. I am a big fan of Ralph Waldo Emersons essay titled Self-Reliance. If youve not yet read it, I strongly encourage you to do so. In this essay, the venerable Emerson talks about eschewing the trappings of society and finding ones own path. He urges the reader to find rectitude and lead a moral life. He professes that, only by being self reliant, as opposed to relying on the government and being dictated to by society, can one begin leading a decent and purposeful life. He avers that such a life is the only life worth living. I agree with him. This essay was written during a time of social upheaval in America, and it is rather odd that Emerson authored it, as he was a part of the upper crust of society at the time. It just so happened that he looked around him, at the indolence and the wantonness of the people in his circle; he wondered how in the world he came to belong there. Indeed his penning and publishing this essay caused his excommunication from high society and also caused him a lot of legal trouble. The legal trouble came as a result of the fact that he was speaking out against the government. I like to reference such texts from