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推銷學(xué)范文1
關(guān)鍵詞：參與式教學(xué)；教學(xué)設(shè)計(jì)
一、當(dāng)下大學(xué)生課堂普遍現(xiàn)狀的問題及根源
當(dāng)下大學(xué)生課堂普遍存在參與課堂互動(dòng)積極性不夠，注意力容易不集中，對(duì)課堂知識(shí)厭倦。這既影響了大學(xué)生對(duì)于學(xué)習(xí)乃至社會(huì)化技能的掌握，也影響了老師課堂教學(xué)的積極性，如若不積極調(diào)整，會(huì)形成循環(huán)性的負(fù)面影響。根源在于，第一，移動(dòng)互聯(lián)網(wǎng)的去中心化背景下導(dǎo)致學(xué)生對(duì)于權(quán)威主體相對(duì)保留，有別于傳統(tǒng)學(xué)生在課堂上對(duì)于老師權(quán)威的服從，這對(duì)教學(xué)參與和教學(xué)秩序帶來一定的挑戰(zhàn)，而教學(xué)規(guī)則上有天然的約束性要求，這對(duì)矛盾導(dǎo)致學(xué)生處于主動(dòng)避讓狀態(tài)。第二，從心理學(xué)角度，大學(xué)生普遍處于“補(bǔ)償青春”年齡階段，高考的競(jìng)爭(zhēng)壓力以及傳統(tǒng)應(yīng)試教育的填鴨式教學(xué)降低了大學(xué)生學(xué)習(xí)的探索欲望和好奇心，由此產(chǎn)生補(bǔ)償心理和厭惡心理具有抗拮性。第三，從教學(xué)目的而言，教師和學(xué)生雖然從主觀上需要淡化年齡、知識(shí)結(jié)構(gòu)、閱歷等的差異化，但這種差異化處理不好客觀上會(huì)影響在教學(xué)互動(dòng)中的互動(dòng)質(zhì)量和傳授效果，既無法發(fā)揮教師在社會(huì)化引導(dǎo)的權(quán)威性，也促使課堂教學(xué)活動(dòng)中老師無奈擔(dān)任獨(dú)角戲，挫傷老師后續(xù)教學(xué)活動(dòng)的積極性。第四，手機(jī)提供了豐富的娛樂和新鮮資訊，相對(duì)于大學(xué)教學(xué)穩(wěn)定的教學(xué)發(fā)揮，有天然的吸引力，自然產(chǎn)生了兩者教學(xué)互動(dòng)中不可避免的“注意力轉(zhuǎn)移”。第五，普遍相對(duì)優(yōu)越的成長(zhǎng)環(huán)境和相對(duì)簡(jiǎn)單的社會(huì)閱歷促使大學(xué)生在所學(xué)所用方面帶有主觀的個(gè)人偏好，沒有意識(shí)到社會(huì)化技能對(duì)社會(huì)人的重要性，也就缺失了求學(xué)的動(dòng)力。
二、本門課程教學(xué)中的制約因素
現(xiàn)代推銷學(xué)實(shí)務(wù)是市場(chǎng)營(yíng)銷專業(yè)中偏實(shí)踐技能型的學(xué)科，對(duì)場(chǎng)景化的教學(xué)提出相當(dāng)高的要求，但現(xiàn)實(shí)有不可避免的制約因素。一是真實(shí)的推銷實(shí)踐是多樣化，不同的場(chǎng)景在不同的階段不同的人群都提出藝術(shù)而靈活處理的要求。而現(xiàn)實(shí)的教學(xué)環(huán)境雖有模擬推銷環(huán)節(jié)，但還是受到教學(xué)設(shè)施的限制，無法大量提供簡(jiǎn)要有針對(duì)性的實(shí)踐感知。二是當(dāng)下普遍可以通過模擬推銷環(huán)節(jié)來加強(qiáng)學(xué)生對(duì)理論的理解，但學(xué)生往往以學(xué)生心態(tài)和規(guī)范理解推銷環(huán)節(jié)的種種處理思路，真實(shí)感和角色體驗(yàn)會(huì)降低，自然降低了“知行合一”的綜合領(lǐng)悟效果。而社會(huì)真實(shí)的推銷實(shí)踐是個(gè)人需要具備綜合的知識(shí)、能力和素質(zhì)要求。這相應(yīng)的會(huì)要求在模擬環(huán)境要求學(xué)生的基礎(chǔ)能力例如社交能力、口頭表達(dá)能力具備一定的基礎(chǔ)。但是班級(jí)學(xué)生性格多樣化，都有各自的一些暫時(shí)短板，例如怯場(chǎng)例如表達(dá)能力不順暢等制約因素，這就影響了模擬環(huán)節(jié)的有序有效進(jìn)行，特別是學(xué)生的參與意愿和動(dòng)力。因此學(xué)生基礎(chǔ)性能力偏差在實(shí)際教學(xué)環(huán)節(jié)中帶有一定的挑戰(zhàn)，這是推進(jìn)教學(xué)預(yù)期效果的另一制約因素。
三、現(xiàn)代推銷學(xué)實(shí)務(wù)教學(xué)設(shè)計(jì)思路
雖然現(xiàn)實(shí)教學(xué)不能做到盡善盡美，但是把握學(xué)生的真實(shí)背景、結(jié)合課程的性質(zhì)和能力要求而知己知彼，有目的在教學(xué)環(huán)境中因勢(shì)利導(dǎo)，創(chuàng)造條件，也一定程度上可以提高教學(xué)效果。對(duì)此，大致的設(shè)計(jì)思路如下：1.導(dǎo)入推銷無處不在的觀念。這種觀念需要不斷的重復(fù)和強(qiáng)調(diào)，但不是純粹口頭空洞的表達(dá)，而是多方面生活場(chǎng)景化的導(dǎo)入。例如推銷不是工作才需要才會(huì)出現(xiàn)場(chǎng)景，也不是純粹的有形產(chǎn)品和商業(yè)化服務(wù)，而是無處不在。而落腳點(diǎn)就在學(xué)生普遍的生活點(diǎn)滴以及媒體熱門話題的引申，范圍涉及學(xué)生密切相關(guān)的人際交往、玩樂、購物等環(huán)節(jié)。在場(chǎng)景化描述后做簡(jiǎn)單深入的原理再現(xiàn)，引導(dǎo)學(xué)生從日用而不只到意識(shí)的日用而知。努力提高課堂知識(shí)的趣味性，真實(shí)性，以及實(shí)用性感知。而這類話題必須以學(xué)生為中心，老師需要關(guān)注學(xué)生所偏好的興趣和痛點(diǎn)，才能因?yàn)槭煜ざ杏H切感的參與動(dòng)力。2.善于利用手機(jī)的信息優(yōu)勢(shì)。雖然手機(jī)成為當(dāng)下影響課堂教學(xué)秩序的一大因素，學(xué)生注意力普遍不集中的根源。但是利弊全在老師主導(dǎo)和有效的管控。移動(dòng)互聯(lián)網(wǎng)帶來豐富的信息資源，利用好可以有效的解決課程講授過程中的案例缺乏問題，也能夠做到人人參與。所以老師可以在備課環(huán)節(jié)中利用手機(jī)這一媒介作為信息和注意力引導(dǎo)，從而降低課堂案例背景資料的消化時(shí)間，提高課堂信息傳播的效率和互動(dòng)的積極性。誠(chéng)然，手機(jī)案例的導(dǎo)入需要兼顧學(xué)生興趣和課程的專業(yè)和約束，兼顧信息的實(shí)效性和趣味性，從而在符合學(xué)生追求新奇的背景下做有效的導(dǎo)引。3.善于設(shè)置合理生活化的任務(wù)。既然推銷無處不在，這為學(xué)生通過身邊行為設(shè)置任務(wù)安排帶來了便利性。例如引導(dǎo)通過學(xué)生在線下線上的購物環(huán)節(jié)中，有目的的拍攝和記錄。在不侵犯?jìng)€(gè)人隱私的情況下，作為鮮活的案例放在課堂，讓同學(xué)們廣泛討論，促進(jìn)從生活中來而從生活中學(xué)習(xí)，老師適當(dāng)結(jié)合自己專業(yè)優(yōu)勢(shì)和課堂教學(xué)目標(biāo)做引導(dǎo)，提高學(xué)生的興趣和討論空間。合理生活化的任務(wù)不是局限于購物，目的是通過案例的再現(xiàn)和主人公意識(shí)的代入，帶動(dòng)學(xué)生廣泛留意生活中的推銷行為，也在討論中讓各方得到學(xué)習(xí)領(lǐng)悟。誠(chéng)然，這需要教師需要提前合理的收取學(xué)生代表性的案例，以及在不斷的改善中提高同學(xué)們提供案例的針對(duì)性和代表性。4.善于利用游戲化導(dǎo)入職業(yè)能力自學(xué)自助端口。現(xiàn)代推銷實(shí)務(wù)對(duì)綜合能力的要求很高，而課堂在提升相當(dāng)有限，一是專業(yè)性板塊內(nèi)容多導(dǎo)入會(huì)打亂現(xiàn)有教學(xué)秩序，二是專業(yè)性得不到有效的保障。以提升學(xué)生口頭表達(dá)能力為例，涉及演講與口才的內(nèi)容繁多，并且教學(xué)教法不容易有限展開，過分的輸出還會(huì)導(dǎo)致學(xué)生在有限時(shí)間的課程上淺嘗輒止。而學(xué)生課堂外的時(shí)間充裕，只要導(dǎo)入激勵(lì)得當(dāng)會(huì)帶來學(xué)生自主學(xué)習(xí)的空間和動(dòng)力。而目前互聯(lián)網(wǎng)有相當(dāng)富有參與性的內(nèi)容板塊，為自主自學(xué)提供了可能。在導(dǎo)入的過程中，通過適當(dāng)?shù)挠螒蚧瘏⑴c調(diào)動(dòng)學(xué)生的好奇心，老師做好適當(dāng)?shù)慕馕鲇绊懝ぷ鳎⒈ＷC在甄選和符合教學(xué)中的情境下，推送相應(yīng)的端口給學(xué)生，讓學(xué)生因自己偏好選擇突破點(diǎn)和學(xué)習(xí)任務(wù)導(dǎo)向。規(guī)避學(xué)生在內(nèi)容碎片化的網(wǎng)絡(luò)信息時(shí)代無所適從的情景。用第二課堂聯(lián)動(dòng)課堂板塊，豐富能力提升的內(nèi)容和學(xué)習(xí)矩陣。
四、總結(jié)
現(xiàn)代推銷實(shí)務(wù)的教學(xué)因教師和學(xué)生個(gè)性和現(xiàn)實(shí)環(huán)境差異，有不同的教學(xué)設(shè)計(jì)。而核心在于教師以學(xué)生為中心，以學(xué)生的興趣攝入節(jié)點(diǎn)，善于利用互聯(lián)網(wǎng)，合理引導(dǎo)和設(shè)置教學(xué)任務(wù)，推動(dòng)學(xué)生自學(xué)和參與性教學(xué)，提高學(xué)生的知識(shí)和能力素質(zhì)。
參考文獻(xiàn)：
1.蒿麗萍.課程教學(xué)策略設(shè)計(jì)與行動(dòng)路徑[J].內(nèi)蒙古電大學(xué)刊,2017(2):90-93.
推銷學(xué)范文2
[關(guān)鍵詞]知識(shí)的推銷；獨(dú)立思考；教學(xué)手段
[中圖分類號(hào)]G640 [文獻(xiàn)標(biāo)識(shí)碼]A [文章編號(hào)]1671-5918（2015）15-0014-02
引言
當(dāng)代大學(xué)生一般是“90后”，追求新潮和時(shí)尚。在思想和行為方面存在著許多矛盾，如獨(dú)立與依賴的并存；自信與脆弱的并存；個(gè)性生活與團(tuán)隊(duì)生活的并存；想要學(xué)習(xí)與學(xué)習(xí)目標(biāo)不明確的并存。而傳統(tǒng)的大學(xué)教學(xué)方法很難提起學(xué)生的學(xué)習(xí)興趣，教學(xué)難以收到應(yīng)有的效果。
高校不僅是學(xué)生們的求學(xué)之地，也是他們踏上社會(huì)的前站，高校教師不僅要授業(yè)解惑，更要教給學(xué)生做人的道理。由于師生間的距離及學(xué)校教學(xué)刻板的制度，在過去，學(xué)生會(huì)選擇默默忍受，可如今的大學(xué)生卻未必會(huì)買賬，這樣學(xué)生就很難真正融入到校園中，學(xué)習(xí)成了一種敷衍，要改變這種現(xiàn)狀，我們就要把教學(xué)看作一個(gè)師生合作的舞臺(tái)，而不是強(qiáng)迫學(xué)習(xí)的場(chǎng)所。把自己從一個(gè)從強(qiáng)塞知識(shí)的教師，變成一個(gè)滿足學(xué)生的求知欲并傳播愛的使者。這樣引入“知識(shí)的推銷”是很必要的。
一、知識(shí)的推銷必須以“雙贏思維”為基礎(chǔ)
知識(shí)的推銷是一門“雙贏”的教學(xué)藝術(shù)，老師得到心理滿足，而學(xué)生獲得知識(shí)，知識(shí)的推銷者歡喜，知識(shí)的獲取者得意。在知識(shí)的推銷成功的過程中體現(xiàn)出的就是一個(gè)典型的“雙贏”模式。
老師在“雙贏思維”中不僅表現(xiàn)在實(shí)際地為學(xué)生考慮，他們是不是真的需要你的知識(shí)，而且還運(yùn)用于生活和學(xué)習(xí)中，讓學(xué)生受益，從而自然完成知識(shí)的推銷。如果從學(xué)生的角度考慮，只是一心讓學(xué)生接受你要傳授的知識(shí)，但思維的角度不同，沒為學(xué)生考慮，總是潛意識(shí)地先從自己的角度出發(fā)，是為學(xué)生好，那么不管老師所說的話，再親切、再謙虛，表現(xiàn)得再真誠(chéng)，都難以消除“強(qiáng)迫”兩字，所以，對(duì)一個(gè)優(yōu)秀老師來說，“雙贏思維”就意味著不只把學(xué)生看成一個(gè)單方向接受知識(shí)的個(gè)體，而是要真正地把他們看成需要理解、幫助的朋友，給予學(xué)生力所能及的幫助。
二、知識(shí)推銷的初忠是為學(xué)生解惑
一切教學(xué)策略的運(yùn)用，也旨在通過滿足學(xué)生的求知欲望和解決學(xué)生的疑惑，老師應(yīng)該意識(shí)到，教師是一種非常崇高的職業(yè)，老師的努力不應(yīng)該放在如何去完成自己的教學(xué)任務(wù)，而是應(yīng)該協(xié)助學(xué)生使他們的需求得到滿足，幫助他們解惑，讓學(xué)生的學(xué)習(xí)過程更加有趣和享受，然后自己再完成教學(xué)任務(wù)。總之，假如教學(xué)要有什么成功秘訣的話，就是設(shè)身處地替學(xué)生著想。我們不是單純的教學(xué)，而是為教給學(xué)生解惑的方法。
而要幫助學(xué)生解決問題，首先要了解學(xué)生的問題及疑惑。只有知道學(xué)生需求之后，才能傳授給學(xué)生滿足其需求的知識(shí)，或使學(xué)生相信他們確實(shí)存在著對(duì)老師所傳授知識(shí)的需要。那我們就要先研究學(xué)生的信息，也可以和學(xué)生對(duì)話與交流，在仔細(xì)傾聽中發(fā)現(xiàn)學(xué)生關(guān)注的、在意的和所困擾的信息，我們就從所收集到的信息進(jìn)行組織教學(xué)內(nèi)容。要讓學(xué)生接受自己的教學(xué)方案，還需要讓他們意識(shí)到知識(shí)的重要性，發(fā)現(xiàn)了學(xué)生的忽視之后，通過提出激發(fā)需求的問題，將這些忽視明確化，從而引起學(xué)生的高度重視，以提高學(xué)生用所學(xué)知識(shí)解決相應(yīng)問題的緊迫性。
三、知識(shí)推銷的步驟
（一）用愛使學(xué)生敞開心扉
愛能使學(xué)生敞開心扉。雖然我在掌握了愛的藝術(shù)之前，只算一名普通教師。但我要讓愛成為我最有效的方法，因?yàn)闆]有人能抵擋它的威力。所以我認(rèn)為教師最重要的品質(zhì)就是愛心。
為什么有些老師會(huì)驚訝學(xué)生會(huì)做出很多和他們不相符的事，老師和學(xué)生的距離是那么的大，讓學(xué)生和老師間很陌生，有時(shí)學(xué)生對(duì)老師各種引導(dǎo)會(huì)有些抵觸，會(huì)讓老師有種感覺：老師指東，學(xué)生卻要往西，追其原因就是老師沒有很好的運(yùn)用愛的力量，我們不能一味的對(duì)學(xué)生說教，而是要貼心的關(guān)愛和呵護(hù)，效果就會(huì)大不相同。我們?nèi)绻淖円幌掠^念，調(diào)整看問題的角度，就會(huì)看到不同的一片天。
老師的作用是幫助學(xué)生獲取知識(shí)，只要有足夠的愛心，就可以成為學(xué)生心中最有影響力的老師，讓學(xué)生的負(fù)面的情緒與老師的愛接觸后，瞬間就消融了。愛心是老師與學(xué)生溝通感情的橋梁。
（二）用教學(xué)激情感染學(xué)生的求知欲
實(shí)踐證明，教師自身的激情對(duì)教學(xué)成功所起的作用占80%，而教學(xué)知識(shí)只占20%。很多新教師雖然沒有太多的教學(xué)技巧，卻能不斷地創(chuàng)造不錯(cuò)的教學(xué)效果，最主要的原因就是他們對(duì)自己的工作充滿激情。激情可使教師精力充沛，超常工作。
與其說成功取決于人的才能，不如說取決于人的激情。一個(gè)教師如果不能從每天的工作中找到樂趣，而是為生存才不得不從事教學(xué)工作，才不得不完成教師的職責(zé)，這樣的教師的教學(xué)注定是要失敗的。
因此教師如果沒有了激情，即使掌握了良好的教學(xué)技巧也無法取得教學(xué)成功。如果用火柴和蠟燭來比喻教師和學(xué)生，則教師就像一根火柴，學(xué)生就像一根蠟燭。如果教師不先點(diǎn)燃自己，又怎么可能點(diǎn)燃和照亮別人呢？要成為一個(gè)充滿激情的教師，或者重新拾回自己的激情，可以從以下幾個(gè)方面去培養(yǎng)自己。
一是要有事業(yè)心，熱愛自己的工作。激情是一種重要的力量。也許你的精力不是那么充沛，也許你的個(gè)性不是那么堅(jiān)強(qiáng)，但是一旦你有了激情，并好好利用它，所有的這一切都有可以克服。一個(gè)人如果不熱愛自己所從事的工作，即使他擁有非凡的形象和高學(xué)歷，他也無法取得事業(yè)成功。
二是好奇心。做任何一件事情，當(dāng)你有了好奇心的時(shí)候，也會(huì)推動(dòng)激情。所以，遇到難解的事情，要不斷地問自己“為什么”，用你對(duì)“為什么”的孜孜探究來保鮮自己的好奇心。
三是興趣。即指你對(duì)你所從事的教學(xué)工作的興趣。對(duì)于這一點(diǎn)，我們都深有感觸。無論做任何一個(gè)工作，如果你對(duì)它本身沒有什么興趣，只是為了那份微薄的可以糊口的薪水，你就不會(huì)投入太多的精力和激情，也就很難在這個(gè)行業(yè)有所作為。
四是知識(shí)。如果沒有知識(shí)，激情和能力不可能持久。如果不盡快地?cái)U(kuò)充大腦的“內(nèi)存”，面對(duì)越來越多的競(jìng)爭(zhēng)對(duì)手和科技的日新月異，你會(huì)變得不知所措。所以，千萬不要停止學(xué)習(xí)。
五是自信。你必須相信你所做的都是正確的，作為一個(gè)教師，有信心不見得會(huì)成功，但沒信心一定會(huì)輸?shù)降住＞趩收郀?zhēng)取到沮喪的命運(yùn)，樂觀者爭(zhēng)取到樂觀的命運(yùn)。不少的成功人士都暗示自己；我是第一號(hào)人物。這個(gè)暗示既是對(duì)自己的激勵(lì)，也是自己的奮斗目標(biāo)。但是，持久的自信心不是靠教師的盲目自大或他人的空洞說教與鼓勵(lì)就能產(chǎn)生的。教師幫助自己建立持久的自信心，就是要了解自己的教學(xué)內(nèi)容。這樣才能對(duì)學(xué)生進(jìn)行生動(dòng)的講授，進(jìn)而影響學(xué)生對(duì)知識(shí)的接受及掌握知識(shí)的信心。
有這樣一句名言：“人的意志可以發(fā)揮無限的力量，可以把夢(mèng)想變?yōu)楝F(xiàn)實(shí)。”說的是一種信念、一種信心，可以把人的潛力挖掘出來。不放棄成功的信念，并堅(jiān)持不懈地追求下去，才能真正達(dá)到目的。
六是目的。你的目的應(yīng)當(dāng)不只是賺錢。人生短短幾十年，讓自己的人生有一點(diǎn)不悔的追求？請(qǐng)你相信，在你追求事業(yè)和人生目標(biāo)的過程中，金錢會(huì)根據(jù)你付出心血和努力的程度源源而來。
七是運(yùn)用這樣一個(gè)心理暗示：每天對(duì)自己說：“我要充滿激情！”同時(shí)，讓這個(gè)自我激勵(lì)深入到潛意識(shí)中去。讓這種潛意識(shí)激勵(lì)你的行動(dòng)，變消極為積極。
（三）用超人的勇氣去開辟教學(xué)的新局面
教師要面對(duì)許多不同性格、不同教育背景的學(xué)生，而且還要面對(duì)被學(xué)生抵觸的壓力，這就要求教師必須具有常人不具有的勇氣。如果不是勇氣十足的話，就很難在這一行里干出名堂來。該如何鼓起勇氣呢：有這樣一段話：“敢于教學(xué)，敢于表現(xiàn)，相信自己，心有底氣，要有勇氣，永不泄氣；丟掉面子，忘掉身份，丟掉膽怯，去掉雜念，一心一意，不怕失敗。
推銷學(xué)范文3
1“現(xiàn)代推銷技巧”課程傳統(tǒng)的教學(xué)方式存在的問題
11培養(yǎng)模式不能很好地適應(yīng)社會(huì)的要求
《教育部關(guān)于全面提高高等教育質(zhì)量的若干意見》中明確把“創(chuàng)新人才培養(yǎng)模式”作為提升人才培養(yǎng)水平、推進(jìn)文化傳承創(chuàng)新的重要舉措。而社會(huì)經(jīng)濟(jì)的發(fā)展也要求高職院校要依據(jù)市場(chǎng)發(fā)展的規(guī)律，以就業(yè)為導(dǎo)向、以能力培?B為主線、以培養(yǎng)應(yīng)用型人才為目標(biāo)，創(chuàng)新高職院校人才的培養(yǎng)模式，使高職院校的人才培養(yǎng)與社會(huì)需求結(jié)合起來，為社會(huì)提供真正具備就業(yè)能力、實(shí)踐能力、創(chuàng)新能力的高技能人才。目前，由于高職院校仍然使用學(xué)科體現(xiàn)加實(shí)踐環(huán)節(jié)。來組合人才培養(yǎng)模式，導(dǎo)致人才培養(yǎng)目標(biāo)定位是模糊的，教學(xué)模式仍以教材為主，用課堂教學(xué)方式、以理論講授為重點(diǎn)。就會(huì)使理論與實(shí)踐課之間的比例失調(diào)，達(dá)不到理想的教學(xué)效果。
教學(xué)計(jì)劃缺乏彈性，有些學(xué)校的“現(xiàn)代推銷技巧”課程的教學(xué)大綱與教學(xué)計(jì)劃，在內(nèi)容選取、開設(shè)時(shí)間上幾年都沒有變化，導(dǎo)致教學(xué)內(nèi)容陳舊落后，缺少實(shí)用性。由于教材都是幾年以前編寫的，教材中的案例、實(shí)訓(xùn)，與現(xiàn)在社會(huì)的實(shí)際情況相差懸殊。大部分教材只講究學(xué)科體系，采取工學(xué)結(jié)合培養(yǎng)模式來編寫的教材更是少之又少，實(shí)用性不強(qiáng)。
12教學(xué)方法與學(xué)生特性不符
教學(xué)方法比較單一。大部分教師都是從學(xué)校畢業(yè)，就到學(xué)校任教，缺乏到企業(yè)實(shí)習(xí)的經(jīng)歷，一味地對(duì)理論知識(shí)進(jìn)行灌輸，和企業(yè)實(shí)際生產(chǎn)經(jīng)營(yíng)相關(guān)的課程聯(lián)系得少，學(xué)生對(duì)課程缺少興趣。即便采取案例、討論、啟發(fā)等教學(xué)方法，可是由于教師缺乏解決市場(chǎng)營(yíng)銷問題的實(shí)踐經(jīng)驗(yàn)，沒有更好的理論與實(shí)踐結(jié)合的經(jīng)歷，對(duì)案例教學(xué)的組織駕馭不夠，課堂教學(xué)的吸引力低。目前高職院校的學(xué)生大都是性格活潑、好動(dòng)。學(xué)生更看重的是老師的人格魅力及老師講話的幽默度。老師在教學(xué)活動(dòng)中，就要想盡各種辦法來調(diào)動(dòng)學(xué)生的積極性。如果還按照傳統(tǒng)的教學(xué)方法，單向地灌輸理論知識(shí)，而忽視了學(xué)生的拓展思維的訓(xùn)練，勢(shì)必會(huì)導(dǎo)致“教”與“學(xué)”的不對(duì)接。沒有開發(fā)出學(xué)生的潛質(zhì)，降低了學(xué)生的學(xué)習(xí)興趣。
13實(shí)訓(xùn)條件不充分
“現(xiàn)代推銷技巧”課程是和消費(fèi)者、市場(chǎng)、企業(yè)聯(lián)系比較密切的一門課程，多數(shù)院校通過購買一些營(yíng)銷類教學(xué)軟件，在校內(nèi)進(jìn)行實(shí)訓(xùn)，來提高學(xué)生的實(shí)踐能力。但這種單純的軟件模擬教學(xué)，只能幫助學(xué)生了解營(yíng)銷活動(dòng)過程，對(duì)學(xué)生的實(shí)際經(jīng)驗(yàn)沒有太大的幫助。社會(huì)上很多企業(yè)，由于一些特殊原因，在營(yíng)銷工作中學(xué)生無法接觸實(shí)質(zhì)性的內(nèi)容，社會(huì)上雖然有很多校企合作、產(chǎn)學(xué)合作方面的實(shí)習(xí)基地，基本都是形同虛設(shè)。學(xué)生的實(shí)踐需求滿足不了，只能在課堂上進(jìn)行簡(jiǎn)單模擬，使原本計(jì)劃的實(shí)訓(xùn)內(nèi)容無法完成，自然也就達(dá)不到預(yù)期的教學(xué)目的。
14考試方式不科學(xué)
對(duì)“現(xiàn)代推銷技巧”課程的考核，很多學(xué)校采用的是閉卷考試為主、實(shí)訓(xùn)成績(jī)?yōu)檩o。考試內(nèi)容主要是教師命題，試題是在教學(xué)大綱、考試大綱的要求下，主客觀題型均勻分布，這種考核只能檢驗(yàn)學(xué)生對(duì)理論知識(shí)的掌握情況，而學(xué)生職業(yè)的能力無從判斷。而實(shí)訓(xùn)成績(jī)，主要是根據(jù)學(xué)生在課堂過程中通過分組的形式，進(jìn)行案例分析或者是課堂模擬演練，由老師給每位同學(xué)打分。這種考核方法不全面，導(dǎo)致學(xué)生上課不認(rèn)真，對(duì)實(shí)訓(xùn)成績(jī)也不在乎，無法提高自身的推銷能力。
2“現(xiàn)代推銷技巧”課程教學(xué)改革的主要內(nèi)容
21教學(xué)內(nèi)容要真實(shí)化，符合高職院校的培養(yǎng)理念
高職院校管理專業(yè)圍繞職業(yè)能力培養(yǎng)，構(gòu)建課程體系，將相應(yīng)的職業(yè)資格標(biāo)準(zhǔn)的內(nèi)容納入教學(xué)之中。實(shí)現(xiàn)學(xué)生修完專業(yè)課程，便能形成適應(yīng)某種職業(yè)需求的中、高級(jí)技術(shù)能力。同時(shí)，注重校企共同開發(fā)課程，突出課程的綜合性、實(shí)用性。根據(jù)市場(chǎng)的需要，營(yíng)銷專業(yè)應(yīng)減少一些純理論性的內(nèi)容，增加一些實(shí)踐性、實(shí)驗(yàn)性的知識(shí)，達(dá)到使專業(yè)與社會(huì)的需求無縫對(duì)接。目前學(xué)校實(shí)行認(rèn)知實(shí)習(xí)、課程實(shí)訓(xùn)、綜合實(shí)訓(xùn)、頂崗實(shí)習(xí)四個(gè)環(huán)節(jié)有機(jī)結(jié)合，培養(yǎng)學(xué)生職業(yè)崗位能力，有效地促進(jìn)了理論與實(shí)踐的融合以及知識(shí)向能力的轉(zhuǎn)化。
通過工學(xué)結(jié)合，可以使“現(xiàn)代推銷技巧”課程與企業(yè)的實(shí)際聯(lián)系起來，體現(xiàn)“以就業(yè)為導(dǎo)向，以能力培養(yǎng)為核心”的教育理念，滿足企業(yè)和學(xué)生的需要。這種模式強(qiáng)調(diào)學(xué)校與企業(yè)互動(dòng)，生產(chǎn)與學(xué)習(xí)相結(jié)合，突出培養(yǎng)學(xué)生的職業(yè)素質(zhì)與職業(yè)能力，學(xué)生畢業(yè)后可直接上崗，企業(yè)滿意度與社會(huì)認(rèn)同度較高，較好地反映了高職院校人才培養(yǎng)規(guī)格的本質(zhì)與特征，這是新形勢(shì)下高等職業(yè)教育改革的重要方向，也是加快培養(yǎng)高技能人才的根本出路。
22教學(xué)方法要靈活多樣
在教學(xué)方法上，努力實(shí)現(xiàn)融“教、學(xué)、做”為一體。所有帶實(shí)踐內(nèi)容的課程授課地點(diǎn)全部安排在理實(shí)一體化教室。課堂上，教師采用任務(wù)驅(qū)動(dòng)、角色扮演、分組教學(xué)等多種教學(xué)方法，調(diào)動(dòng)學(xué)生學(xué)習(xí)積極性，提高了教學(xué)效果。讓學(xué)生知道，學(xué)習(xí)過程不再是聽講過程，而是行動(dòng)過程，老師給出任務(wù)，學(xué)生運(yùn)用理論知識(shí)自己解決問題。可以將將全班學(xué)生分成若干個(gè)學(xué)習(xí)小組，每個(gè)小組選擇一個(gè)真實(shí)的產(chǎn)品，來進(jìn)行現(xiàn)場(chǎng)推銷，讓學(xué)生分別扮演顧客和推銷人員，推銷人員通過觀察顧客，了解顧客的心理，展開有針對(duì)性的推銷，同時(shí)顧客提出異議時(shí)，推銷人員能夠運(yùn)用一些技巧及時(shí)地化解異議。學(xué)生是徒弟，老師是師傅，邊學(xué)邊做。把在實(shí)踐中遇到的問題，帶回到課堂上來解決，通過提問、答疑等方式，理論聯(lián)系實(shí)際，提高學(xué)生分析、解決問題的能力。
23完善實(shí)訓(xùn)基地建設(shè)
首先，加大校內(nèi)實(shí)訓(xùn)基地的建設(shè)，對(duì)現(xiàn)有的基地進(jìn)行完善和拓展，保證學(xué)生在校內(nèi)實(shí)訓(xùn)能夠順利開展。其次，要走出學(xué)校，多多和企業(yè)溝通，給學(xué)生爭(zhēng)取更多的校外實(shí)訓(xùn)機(jī)會(huì)，讓學(xué)生能夠真正地“走出去”，在實(shí)際的工作崗位上得到鍛煉。
24建立科學(xué)的教學(xué)考核方式
在期末考核方面，我們由原來的純粹的閉卷轉(zhuǎn)變?yōu)椋]卷、過程考核、實(shí)訓(xùn)相結(jié)合的方式。注重學(xué)生參與、體驗(yàn)、感受、實(shí)踐、創(chuàng)新的過程。所以學(xué)生不光要掌握一些理論知識(shí)，更重要的是要學(xué)會(huì)自己動(dòng)手、動(dòng)腦，能自己實(shí)際解決問題。
3改革的初步成效及存在的主要問題
通過改革，取得了一些成效，比如，師生關(guān)系比以前更加和協(xié)了。老師不再只是講授者，而是變成了師傅，在不同階段承擔(dān)著各種角色，使學(xué)生能夠真正融入到課堂，增加了交流的機(jī)會(huì)。另外，學(xué)生的學(xué)習(xí)興趣和綜合能力也得到了提高。課堂氣氛活躍了，學(xué)生積極地想表現(xiàn)自己，認(rèn)真地完成每項(xiàng)任務(wù)。
推銷學(xué)范文4
悲劇是一種起源于希臘的戲劇形式，長(zhǎng)期以來，悲劇的主人公都為帝王或出身高貴的上流階層。現(xiàn)代劇作家阿瑟•米勒憑借自己多年的經(jīng)驗(yàn)與非凡的洞察力，提出了自己獨(dú)特的現(xiàn)代悲劇觀，他打破了傳統(tǒng)悲劇的僵化模式，更加實(shí)用地繼承與發(fā)展了悲劇形式。米勒獨(dú)具建樹的悲劇觀，在其杰作《推銷員之死》中得到了完美詮釋。本文試圖從悲劇理論出發(fā)研究米勒的悲劇觀，再通過對(duì)其代表作《推銷員之死》的分析，具體研究該劇中米勒獨(dú)特悲劇觀的體現(xiàn)。在《推銷員之死》作家米勒繼承并革新了傳統(tǒng)的悲劇理論，認(rèn)為普通人對(duì)生活有更深刻全面的理解，他們才是最適合的悲劇主人公。在該劇中，體現(xiàn)了米勒獨(dú)特的悲劇觀。推銷員之死在戲劇結(jié)構(gòu)，象征手法的應(yīng)用與主人公的性格方面繼承了傳統(tǒng)悲劇，而在題材的選擇既主人公的普通性，悲劇的成因及悲劇所體現(xiàn)的樂觀思想方面發(fā)展則打破傳統(tǒng)，發(fā)展了傳統(tǒng)的悲劇理論。
關(guān)鍵詞：阿瑟•米勒， 悲劇觀，《推銷員之死》，發(fā)展與繼承
ABSTRACT
Tragedy is a drama genre originated in Greek. For a long time, it is an accepted rule that the tragic hero must be the kings, nobles or protagonists with high rank. However, Miller states his unique view of tragedy, which both inheritates and develops the theory of traditional tragedy. That is, Arthur Miller breaks the mold of the formulaic tragedies of previous era since Aristotle and redefines that the common people are as apt a subject for tragedies in its highest sense as kings were. Typically, Miller’s tragic view is presented in his masterpiece—Death of a Salesman. On the basis of the traditional theory of tragedy, this essay aims at pursuing Arthur Miller’s unique view of modern tragedy embodied in Death of Salesman, which is both the inheritance and the development of the traditional theory of tragedy.
In this play, Miller fully practices his unique view of tragedy. In such parts as the drama structure, the use of symbolism and the characteristics of the protagonist, Miller follows the theory of traditioanl tragedy. However, he breaks the archaic theory and makes great develoment to the theory of modern tragedy in the following aspects: the subject matter, the tragedy causes and the ending enlightment.
Keywords：Arthur Miller, Death of a Salesman, tragedy, succession and development
Contents
1.Introduction 1
2.Traditional View of Tragedy 2
3. Miller's View of Tragedy 3
3.1 The Great Influence of His Early Experience on the Forming of Miller’s Tragic View 3
3.2 Arthur Miller’s Unique View of Modern Tragedy 4
4. Miller’s Inheritance and Development of Traditional Tragic View in Death of a Salesman 5
4.1 Miller’s Inheritance of Traditional Tragic View 5
4.1.1 Arthur Miller’s Acceptance of Traditional Drama Structure 6
4.1.2 Traditional Symbolism Applied in Death of a Salesman 7
4.1.3 Characteristics of Traditional Tragic Protagonist Embodied in Death Of a Salesman 8
4.2 Miller’s Development of Traditional Tragedy in Death of a Salesman 9
4.2.1 Little Man as Protagonist in Death of a Salesman 9
4.2.2 The Personal and Social Elements Being the Causes of Tragedy 10
4.2.3 Optimistic View of Tragic Ending Reflected in Death of a Salesman 12
5.Conclusion 14
Acknowledgements 15
References 16
1. Introduction
Arthur Miller, a prominent figure in American theatre, is considered by audiences and scholars as one of America’s greatest playwrights with his plays lauded throughout the world. Owing to his unique view of tragedy which is best demonstrated in his magnum opus Death of a Salesman. Arthur Miller made great contribution to the development of the modern drama. Death of a Salesman relates the story of Willy Loman, a down-on-his-luck traveling salesman. In order to cope with his failures in life, he retreats to the past in his mind and seems to be losing touch with reality. He tries to relive the good times, but keeps coming up against things that went wrong. His family tries to help him by lying about their prospects, but when Loman loses his job to which he has devoted his lifetime, he becomes desperate. His depression is exacerbated by the guilt he feels from a past infidelity which has estranged him from his older son, Biff. Rather than accepting the fact that his life has been a failure and that Biff is not interested in big business, Loman decides to commit suicide hoping that the insurance money will help Biff become successful. The play ends with his family and only friend, Charley, grieving by his graveside. The play reflects Miller’s unique tragic view thoroughly. In order to get a better understanding of Miller’s unique views and advancement, a brief review of traditional tragedy is necessary.
2. Traditional View of Tragedy
Tragedy is a form of art based on human suffering that offers its audience pleasure. [1]67 While most cultures have developed forms that provoke this paradoxical response, tragedy refers to a specific tradition of drama that has played a unique and important role in the history of Western civilization. That tradition has been multiple and discontinuous, yet the term has often been used to invoke a powerful effect of cultural identity and historical continuity. Tragedy was Greek’s contribution to the human civilization. It has undergone the process of birth, development, enlighten and decline after it first came into being 2500 years ago. [2]
There once emerged two major Western tragedies in the history: Greek Tragedy and Elizabethan Tragedy. 4-5
Greek tragedy did not have a integrated theory until the appearance of Aristotle’s
Poetic. Aristotle’s description in Poetic provides insight into the theoretical basis of Greek tragedy. He raised almost all the elements such as the nature of the tragic protagonist, the emotional effect on the spectators, the tragic flaw and so on. In his masterpiece Poetic, he defined the tragic hero as one of noble birth, and prescribed principle that the tragic hero should suffer a major reversal in fortune due to his tragic flaw, and then learned from his fall to elevation. Aristotle considered the plot to be the core of the tragedy and character stood the next place. From his standpoint, the goal of a tragedy was not suffering but the knowledge that issued from it. In other words, a tragedy should invoke a catharsis in the audience. It was a purging of pity and fear which the tragedy built up in the audience. [5]49-60
In traditional tragedy the tragic hero are always in the relationships between human and God, human and fate. Their suffering and misfortune closely link with their high position and nobility.
3. Miller’s View of Tragedy
The discussion about genre has been complicated by the fact that the word “tragedy” has acquired the sanctity of an honorific title, so that critics are often hesitant to bestow the term on plays dealing with ordinary life or with the “common man”. Consequently, playwrights who have focus on the ordinary and the commonplace and especially those who have opposed the necessary fatalism and mysticism of classical tragedy, have been faced with problem of trying to reconcile contemporary ideas with traditional tragedy. [6]126Arthur Miller is among them; his works have become for many critics the quintessential modern tragedy.
3.1The Great Influence of His Early Experience on the Forming of Miller’s Tragic View
There is no doubt that a person’s views of world and concepts of life are greatly influenced by his experiences. 55Therefore, it is essential to learn about his experience and factors impacting him emotionally or psychologically for the sake of better understanding his view of tragedy.
Miller’s early circumstances were comfortable, but the crash of 1929 and the Depression were the major influence on his developing views of life. Actually, the 1929 crash impressed Miller greatly, “The hidden laws of fate lurked not only in the characters of people, but equally if not more imperiously in the world beyond the family parlor. Out there were the big gods, the ones whose disfavor could turn a proud and prosperous and dignified man into a frightened shell of a man whatever he thought of himself, and whatever he decided or didn’t decide to do.” [9]36
If the economic effects of the Depression had begun to awaken his social conscience, the social conditions in the Seventh Avenue district shocked him. The arrogance, cruelty, hardness and vulgarity of the buyers affected him in a way he never forgot. and finally became the material of his later famous play—Death of a Salesman. Miller’s experiences had a great influence on his view of tragedy. Owing to this, his unique view of tragedy was shaped.
3.2Arthur Miller’s Unique View of Modern Tragedy
Arthur Miller has been seriously concerned with the study of tragic mode, and his
view of tragedy mainly includes the following aspects.
First and foremost, unlike the traditional tragedy which emphasizes on the nobility of tragic protagonists, Miller believes that “the common man is as apt a subject for tragedy in his highest sense as kings were. On the face of this, it ought to be obvious in the light of modern psychiatry, which bases its analysis upon classic formulations, such as the Oedipus and Orestes complexes, for instance, which were enacted by royal beings, but which apply to everyone in similar situation.” [10]435Therefore, we can find obvious evident in his play. Miller creates many characters such as salesman, farmer, docker porter, clerk, policeman and prostitute in his works and most of them are very common people in society.
Second, trag ic flaw used to be thought as the main reason for the misfortune and sufferings of the protagonist, but in Miller’s eyes, the root of tragedy should consist in “man’s inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of his rightful status and social reality”. 453
Miller fully understands the interdependent relationship between the society and individuals: the society is made up of individuals and molds them. In other words, certain individuals are the mirror of the society. As a result, the fate of an individual must have certain universality and the vice versa.
Third, it is almost an established concept that tragedy is of necessity allied to pessimism, however, Miller stated that “in true tragedy implies more optimism in its author than does comedy, and that its final result ought to be the reinforcement of the onlooker’s brightest opinions of human animal. For if it is true to say that in essence the tragic hero is intent upon claiming his whole due as a personality and if this struggle must be total and without reservation, then it automatically demonstrates the indestructible will of man to achieve his humanity. The possibility of victory must be there.” [10]454
Miller’s tragic views are fully elucidated in Death of a Salesman. This essay will mainly focus the practice of Miller’s tragic view in Death of a Salesman.
4. Miller’s Inheritance and Development of Traditional Tragic View in Death of a Salesman
As a unique form of literature, drama has its own components and characteristics. When appreciated from aesthetic perspective, it is generally illustrated in four aspects: drama conflict, protagonist, structure, and end of the tragedy.
Death of a Salesman, as one of Miller’s masterpieces, fully embodies his views of tragedy. It is questionable whether Death of a Salesman is enough and of sufficient magnitude to be considered as high tragedy in Aristotelian sense. According to Aristotle, the action of tragedy to be serious must be profound both in its subject matter and in its spiritual discernment. [11]
4.1 Miller’s Inheritance of Traditional Tragic View
Asked which playwrights he admired most when he was young, Miller applied: “First the Greeks, for their magnificent form, the symmetry. Half the time I couldn’t really repeat the story because the characters in the etymology were completely blank to me. I had no background at that time to know really what was involved in these plays, but the architecture was clear. That form has never left me. I suppose it just got burned in.” [7]236
Over the years, Miller came to see that it was not only the form that he had learned from the traditional Greek, but also a sense of nature and function of drama itself. That is the reason why Miller has inherited certain aspects of traditional theory of tragedy. When it comes to its actual practice in Death of a Salesman, it is not difficult to find out that the in terms of drama structure, expression and tragic hero’s characteristics, Miller succeeded the traditional tragedy. [12]165-266
4.1.1 Arthur Miller’s Acceptance of Traditional Drama Structure
Classic tragedy emphasized that the elements of the structure: objects, events, the time and place should be highly concentrated. In order to adapt to the stage performance, the Greek tragedy always began with the climax or crisis and then disclosed the past by reviewing. [13]Such as the typical Greek tragedy Oedipus, the whole thing occurred only in half days, location had always been at the royal Palace. The stage showed the Oedipus king investigated the murderer, who killed the old king, and the events of the past four decades gradually revealed and when the final truth was disclosed, it also came along with the outbreak of tragedy. Like the Greek tragedy, the structure of Death of a Salesman is also concentrated. The play started with Willy back home:
From the right, Willy Loman, the salesman, enters carrying two large samples. The flute plays on. He hears but is not aware of it. He is past sixty years of age, dressed quietly. Even as he crosses the stage to the doorway of the house, his exhaustion is apparent. [14]5
Miller only intercepts the last day of life, basically against the backdrop of Willy’s home. Through reminiscing or actually Willy’s consciousness, Miller disclosures the past events and Willy’s depression, struggle and despair before suicide.
Like the traditional tragedy, its structure contains the beginning, development, climax, end, and sudden turning and discovery. Two clues coexist in the same story: external event development constitutes external structure. Willy returns home—making a plan—bankrupting—committing suicide; Psychological activity of recalling the past and imagination of his brother Ben constitutes the internal structure. Both the external and internal event pushes the plot to develop and supplement each other, successfully reflecting the hero’s character and the theme.
The structure of events and the nature of its form are the direct reflection of Willy’s way of thinking at this moment of his life. He lives in his own world full of contradictions in pursuing success of career, and in evaluating his position in the society.
Friction, collision, and tension between past and present are the heart of the play’s particular structure. [15]155
In Death of a Salesman, Miller not only describes what happened to Willy’s life in 24 hours, but also portrays Willy’s whole life. Just as Miller describes “it is certain private conversation in two acts and a requiem”.
4.1.2 Traditional Symbolism Applied in Death of a Salesman
It is a writing way of traditional tragedy to link the theme and structure of the drama by using symbolism such as analogy, metaphor and imagery, [18]Miller also follows this tradition in Death of a Salesman. A typical case in this play is Willy’s strange obsession with the condition of Linda’s stockings.
Linda There’s nothing to make up, dear. You’ re donning fine, better than—
Willy [noticing her mending] what’s that?
Linda Just mending my stockings. They’re so expensive—
Willy 86
The stockings foreshadow his later flashback to Biff’s discovery of him and The Woman in their Boston hotel room. The teenage Biff accuses Willy of giving away Linda’s stockings to the woman. Stockings assume a metaphorical weight as the symbol of betrayal and infidelity. New stockings are important for both Willy’s pride in being financially successful and thus able to support his family and for Willy’s ability to ease his guilt about, and suppress the memory of his betrayal of Linda and Biff.
Another symbol is seed.
Willy [After a slight pause] Tell me—is there a seed store in the neighborhood?
……
Stanley Seeds? You mean like to plant?
……
Willy 316
Seeds represent for Willy the opportunity to prove the worth of his labor, both as a salesman and a father. His desperate, nocturnal attempt to grow vegetables signifies his shame about barely being able to support the family and having nothing to leave his children when he passes. Willy feels that he has worked hard but fears that he will not be able to help his offspring any more than his own abandoning father helped him. The seeds also symbolize Willy’s sense of failure with Biff. Despite the formula of American Dream for success, which Willy considers infallible, Willy’s efforts to cultivate and nurture Biff went awry. Realizing that his all-American football star has turned into a lazy bum, Willy takes Biff’s failure and lack of ambition as a reflection of his abilities as a father.
4.1.3 Characteristics of Traditional Tragic Protagonist Embodied in Death of a Salesman
In the thirteenth chapter of Poetics, Aristotle pointed out that tragic figure is neither a good nor bad person, but between these two kinds. This kind of people does not have much of a virtue, nor it is very fair, they have flaws.
“The flaw, or the crack in the character, is really nothing –and need be nothing, but his inherent unwillingness to remain passive in the face of what he conceives to be a challenge to his dignity, his image of rightful status.” [10]494
Willy is in this category. Although frustrated in his business and earning little, Willy traveled a lot and does a lot of road business as a way of pursuing his dignity all his lifetime and a way of meeting the need of the family. For the purpose of being able to stay in the company, Willy even humbly asked a favor of his boss—Howard and willingly reduced his salary to a meager level.
Willy I tell ya why, Howard. The kids are all grown up, y’know. I don’t need much any more. If I could take home ---well, sixty- five dollars a week, I could swing.
……
Willy Howard, all I need to set my table is fifty dollars a week.
……
Willy If I had only forty dollars a week----that’s all I’d need. Forty dollars, Howard. [14]204-205
After Willy became jobless, he went to Charley, his neighbor and friend, to borrow fifty dollars every week and brought the money home to Linda, lying that the money was his salary with the intention of concealing the truth that he was fired. However, when he was offered a job, Willy rejected it out of his poor dignity and pride. For Willy was unwilling to admit that he was a failure.
Willy also tried his best to support his family on condition that he never lost his dignity. When he was finally reminded of the insurance money, he felt that his dignity as a “success” deserted him, so in despair he committed suicide.
On balance, to a certain extent, Willy’s character was similar to the traditional tragic hero.
4.2 Miller’s Development of Traditional Tragedy in Death of a Salesman
The big success and popularity of Death of Salesman is largely attributed to Miller’s development of traditional view of tragedy and his breakthrough of the formulaic mold of previous tragedies. The following aspects are regarded as the best interpretation of Miller’s development of traditional view of tragedy.
4.2.1 Little Man as Protagonist in Death of a Salesman
According to Aristotle, the tragic hero should be one of noble birth, but Miller looks at the problem from a practical rather than a theoretical angle. “……Tragedy has to grow and develop to meet the changing needs of the modern society”, he stresses.435
Willy is a common salesman and unsuccessful salesman in fact. He has devoted all his life and energy to pursue the material success and wants to hit big in business. He regards the success in career as the most important thing to gain his dignity and happiness, and gives it the premium over others in his life. However, he does not succeed in his career. In order to keep the daily life, he has to borrow money from his neighbor Charley. Although the company he has worked for nearly thirty-six years thrives, he becomes poorer and poorer, for he does not have a stable salary but only a commission like a jackaroo and at last he is fired. At home, he is neither an ideal father nor an ideal husband as well. As a father, with the faith in the supremacy of the material over spiritual, he transfers his blinded conviction in to his sons
Willy ……Because the man who makes an appearance in the business world, the man who creates personal interest, is the man who gets ahead, be liked and you will never want. [14]97
And when Biff stolen, Willy did not pointed out but even encourages his theft.
Charley Listen, if they steal any more from that building the watchman’ll put the cops on them.
Willy You shoulda seen the lumber they brought home last week. At last a dozen six-by-tens worth all kinds a money. [14]116
Which indirectly caused Biff’s peculiarity of stealing in his later life?
As a husband, Willy is a typical male chauvinist, and he had a love affair with another woman and betrayed his wife.
Besides, unlike the traditional tragedy such as Sophocles and Shakespeare dealt with noble minds and hearts which raised the actions of their heroes above the ordinary, the play also lacks sufficient magnitude for high tragedy. Willy’s aimless wanderings of mind and spirit, shrouds as they are in the murky mist of illusions can hardly be reckoned above the ordinary manner of things human. It is doubtful that Willy possesses the moral integrity or spiritual stature indicated by Aristotle.
4.2.2 The Personal and Social Elements Being the Causes of Tragedy
In the theory of the traditional tragedy misfortune was brought about not by vice or depravity, but for some error or frailty. The character failed because he tried to overcome his flaw but did not succeed.
However, in the causes of the fate of the tragic hero, Miller thinks there are many reasons contributing to the fate of the protagonist. Not only the personal sides but also the social sides, and both play essential role in the causes of tragic fate of the protagonist. In Death of a Salesman, the causes of the Willy’s tragic fate mainly include two parts: his own tragic flaws and the social elements.
It can not be denied that the hero himself plays an important role in it. In Willy’s tragic fate, his false values about the life and society are one of the main causes that lead to his tragic fate. Willy has looked for a right position and struggled his dignity with a desperate earnest all his life. Unfortunately, he failed to get security in the world, and got lost in his own illusion.
Willy attached his life to a faith which in the blessed country everyone has the chance to be successful through his effort. He regarded Dave Single man as the idol of his career,
Willy ……I met a salesman in the Parker House. His name was Dave Singleman--- And when I saw that, I realized that selling was the greatest career a man could want. [14]202
Willy always holds the view that he can succeed if he has the determination. He firmly sticks to the idea that the meaning of his life can only be derived from the society and willingly choses it as the standard to measure him. He assumes that success fell inevitably to the man with the right smiles, the best line, the most charm, the man who is well liked.
In addition, his characteristics contradicts, he is immature in his mind which is shown in his so called pride. When Willy was fired, he actually badly needed a job to support the family. But when his friend offered him a job Willy refused, because he was unwilling to admit that Charley was more excellent than him.
Willy I just can’t work for you, Charley.
Charley What’re you, jealous of me?
Willy I can’t work for you, that’ all, don’t ask me why.
Charley [angered, takes out more bills] You been jealous of me all your life … [14]248-251
“The false values, tightly woven into Willy’s personality, were destructive. His tragedy, to put it in other words, was the tragedy of man’s lost values in modern society, was the tragedy of man’s rebuilding values on illusion for defending his dignity.” [19]
In addition, Miller thinks “the wrong is the condition which suppresses man, perverts the flowing out of his love and creative instinct.” [10]435And it also lies Miller’s development of traditional tragic view.
As a social dramatist, Miller confirms the social forces as one of the most important causes of tragedy. Miller thinks that one must not conceive of man as a private entity and his social relations as something thrown at him. According to him, society is inside man and man is inside society. Raymond Williams thinks that in Miller “neither is the individual seen as a unit or the society as an aggregate, but both as belonging to a continuous and in real terms inseparable process.” [20]70
According to Miller, human is considered to be the product of forces outside the individual person. “The fate of seemingly insignificant individual must be the fate of the society, and the society’s conflicts must be the individual’s conflicts, man’s destruction in his effort to evaluate himself and to be evaluated justly, posits a wrong or an evil in his environment. Man is to achieve or to maintain the needed sense of personal dignity is the fault of society. ” [20]75
In Death of a Salesman, we can find a prototype of an alienated white collar man in the character of Willy Loman. It examines the cost of an alienated working class in the character of Willy. It shows that Willy is not only a victim of his personality, but also a victim of the flawed American society.
“There was respect, and comradeship, and gratitude in it. Today, it’s all cut and dried, and there’s no chance for bringing friendship to bear—or personality.” [14]204
Willy ……You can’t eat the orange and throw the peel away—a man is not a
pece of fruit. [14]206
As Willy said in the conversation with his boss Howard, the American society attaches more focus on the material. So when Willy was old and unable to travel around to do business, he was fired by the company relentlessly like the fruit. Willy’s tragic fate actually reveals the rules of the American society: one has to be completive; otherwise he will be left at the mercy of an unfortunate life. Willy’s tragic fate is typical illustration of common American. Under the law of the jungle, employees are only the tool of making money, once they are unable to make profit for their boss, they will inevitably await their doom.
4.2.3 Optimistic View of Tragic Ending Reflected in Death of a Salesman
According to Aristotle, the goal of tragedy is to evoke compassion to the tragic hero and the fear of the enigmatic destiny, so to realize elevation. Miller has developed it. In Tragedy and the Common Man, Miller points out that “The possibility of victory must be there in tragedy. ……In them(tragedy), and in them alone, must lies the belief—optimistic”. [10]451 He thinks that a modern dramatist should show not only defeat but also a free will.
So when Willy gradually realized that he had failed both as a salesman and as a father with his lifelong hard work and his expectation coming to nothing. He reminisced about the “good old days”, hoping to find him self and consolation. However, he was incapable of turning his whole life. Consequently he came to the idea that death can be the redemption and can help him to regain his lost dignity. Willy’s death at the end of the play is purposeful. In his opinion, he learned that “he is loved by his son and has been embraced and forgiven by him, Willy chose his death not as a escape but as a fulfillment.” 145
Willy actually put an end of his life with a joy, pride and a hope that his death will bring a fortune to the living and help his son to start his own business. He just lay down his life for the ones he loves. And this is where the optimistic view of the play lies. Meanwhile, Willy’s desperate commitment to his persistent illusion and dignity also give the audience the hope and thought instead of mere compassion and terror. Therefore, a moral triumph can be observed in the play. To Miller, “death is an assertion of bravery, it is just a way for the protagonist to live and die for it.” [21]147
Besides, Willy’s death also helped Biff to realize himself. Unlike Willy and Happy, Biff felt compelled to seek the truth about himself. While his father and brother were unable to accept the miserable reality of their respective lives, Biff acknowledged his failure and eventually managed to confront it. Biff bristled stiffly at self-deception. Biff saw himself as trapped in Willy’s grandiose fantasies. Intent on revealing the simple and humble truth behind Willy’s fantasy, Biff longed for the territory (the symbolically free West) obscured by his father’s blind faith in a skewed, materialist version of the American Dream. In the last action Biff said, “I know who I am, kid.”[14]369
This also gives the audience the hope that Biff has found his own way to go, he will not bound up with the blind faith which Willy has taught him. He is free and can live on his own view. From Biff’s arousal, we can assure that Biff will not wander any longer, he has nail down the direction of his life. We can even see an enterprising young man with a definite goal.
Both Willy’s death and Biff’s wakeup present Miller’s optimistic view in tragedy.
5. Conclusion
Arthur Miller’s Death of a Salesman is considered to be one of the best modern tragedies in the 20th century. According to Arthur Miller, “Tragedy is one of the most lasting categories of all literary genres. And tragedy should not dead to modern writers but to grow and develop to meet the changing needs of the modern society.”[10]345 His unique interpretations of tragedy have enriched the implications of drama, which can be considered to be his great contribution to the development of the modern drama.
Different from the traditional theories of tragedy, Miller practices his own views of tragedy in this play. Based on his experience and great insight, he succeeds in balancing his theory of tragedy between the succession and development of traditional tragedy theory.
His views are not limited to the studied or remembered models; his theory is well presented in his masterpiece. In this play, Miller practices his unique tragic view. In the term of the drama structure, use of symbolism and characteristics of the protagonist, Miller follows the traditional tragic theory. However, to a larger extent, he develops the traditional tragedy, which can be traced in the play: the subject matter, the cause of the tragic fate and the optimistic view showed at the end of the play all present Miller’s unique tragic view.
It is Miller’s unique tragic theory view that not only establishes Miller’s stature as one of the greatest giants in the drama but also makes his works full of significance.
Acknowledgements
My initial thanks go to my supervisor Kang Wenhong, who patiently supervised my dissertation and was at times very willing to offer me illuminating advice or suggestions. She has spent a lot of her precious time reading and correcting my paper. Without her help and guidance, I could not have finished this dissertation.
I am also indebted to other teachers and my classmates who have not only offered me their warm encouragements but also shared with me their ideas and books. They are Yan Yu xuan, Tan Cui ting, Hu Fang and so on.
My greatest personal debt is to my parents and my sister as well. They have cultivated a soul of sensitivity, hospitality, and honesty out of me, and offered a harbor of happiness and sweetness for me.
The remaining weakness and possible errors of the dissertation are entirely my own.
Refere nces
[1] BANHAM, MATTINE, ed. The Cambridge Guide to Theatre [M]. Cambridge:
Cambridge University, 1998.
[2] GREGORY, JUSTINA, ed. A Companion to Greek Tragedy, 2005.
[3] REHM, RUSH. Greek Tragic Theatre. Theatre production Studies [M]. London and New York: Routledge, 1992.
[4] 于潔.阿瑟•密勒的悲劇觀與其杰作《推銷員之死》[D]. 山東大學(xué),2007.
[5] 亞里士多德, 羅念生譯.詩學(xué)[M].上海:上海世界出版社，2005.
[6] TAXIDOU, OLGA. Tragedy, Modernity and Mourning [M].Edinburgh: Edinburg
UP, 2004.
[7] BARBER, CAROL. Work and Family in Arthur Miller’s Death of a Salesman, 2002.
[8] MARTINE, ROBERTA. The Theater Essays of Arthur Miller [M].New York: Viking Penguin Inc, 1978.
. New York: Harper’s Magazine, 1959.
[10] ARTHUR MILLER. The Tragedy and the Common Man Introduction to Collected plays [M].New York and London: Viking Penguin Inc, 1977.
[11]劉海平，朱雪峰. 英美戲劇:作品與評(píng)論[M].上海:上海外語教學(xué)出版社，2004.
[12] JAMES MARTINE. Critical Essay on Arthur Miller [J].Boston: G.K. Hall, 1979.
[13] 張祥和.《推銷員之死》與傳統(tǒng)悲劇之比較[J].福州大學(xué)學(xué)報(bào)(哲學(xué)版)，2001.
[14] 阿瑟•米勒 推銷員之死[M].北京: 中國(guó)對(duì)外翻譯出版公司, 1999.
[15] CHRISTOPHER BIGSBY. The Cambridge Companion to Arthur Miller [M]. Cambridge: The Press Syndicated of the University of Cambridge, 1997.
[16] ARTHUR MILLER, Time bends [J]. New York: Grove Press, 1987.
[17] 馬可云. 一位普通美國(guó)人的悲劇原型—論《推銷員之死》中威利•洛曼的悲劇形象[J].四川外語學(xué)院學(xué)報(bào), 2005.
[18] 朱清. 《推銷員之死》的象征藝術(shù)[J]. 南通師范學(xué)院學(xué)報(bào)(哲學(xué)社會(huì)科學(xué)版), 2001.
[19] 鄧建華. 小人物的悲劇—淺析“美國(guó)夢(mèng)”在《推銷員之死》中的體現(xiàn)與幻滅[J].東北大學(xué)學(xué)報(bào)(社會(huì)科學(xué)版), 2005.
.Shanghai: Fudan University Press, 2006.
推銷學(xué)范文5
關(guān)鍵詞：推銷與談判；高職院校；教學(xué)模式改革
中圖分類號(hào)：G71
《推銷與談判》是市場(chǎng)營(yíng)銷專業(yè)的實(shí)戰(zhàn)應(yīng)用型專業(yè)課，推銷與談判的能力也是該專業(yè)的同學(xué)們?cè)谧呷肷鐣?huì)后從事本專業(yè)必備的工作技能之一。在專業(yè)課堂的教學(xué)中，該門課程主要采用的是“理論+實(shí)踐”的綜合教學(xué)方式，但隨著社會(huì)對(duì)就業(yè)人員要求的提高，能力導(dǎo)向教學(xué)方式的熱力推崇，該課程的教學(xué)模式也應(yīng)與時(shí)俱進(jìn)進(jìn)行改革，以更好滿足社會(huì)要求和學(xué)生需求。
一、《推銷與談判》課程教學(xué)中存在的問題
1、教學(xué)效果與預(yù)期目標(biāo)不匹配
《推銷與談判》課程主要培養(yǎng)的是學(xué)生與人溝通交流成功推銷產(chǎn)品、正確的推銷洽談等方面的能力，但是最后在檢驗(yàn)學(xué)生的學(xué)習(xí)實(shí)戰(zhàn)中，其效果差強(qiáng)人意，與預(yù)期設(shè)定的目標(biāo)差距較大。學(xué)生對(duì)基本知識(shí)點(diǎn)有粗略了解，但對(duì)專業(yè)知識(shí)點(diǎn)掌握程度卻直線下降，應(yīng)該具備的技能和能力只有少數(shù)同學(xué)能達(dá)到預(yù)期目標(biāo)。
2、部分學(xué)生學(xué)習(xí)積極性不高
目前高職類學(xué)生普遍存在學(xué)習(xí)自主性不高、不愿主動(dòng)有目的的提高自己綜合素質(zhì)、專業(yè)知識(shí)水平和技術(shù)能力較差的情況，面對(duì)學(xué)生的消極學(xué)習(xí)狀態(tài)老師在教學(xué)過程中的積極性也相應(yīng)受挫。本專業(yè)的學(xué)生即使對(duì)于類似《推銷與談判》這樣的市場(chǎng)營(yíng)銷類專業(yè)課其學(xué)習(xí)積極性也不高，課堂上總是有人在走神或是人到心不到，完全缺乏學(xué)習(xí)的興趣和積極性。
3、學(xué)生實(shí)際操作能力較差
學(xué)生真正能將課堂上學(xué)習(xí)到的知識(shí)用于實(shí)際的案例分析或是實(shí)戰(zhàn)操作當(dāng)中的個(gè)案較少，對(duì)知識(shí)的轉(zhuǎn)移運(yùn)用能力缺乏掌控力。有時(shí)候，對(duì)于剛說過的知識(shí)點(diǎn)，現(xiàn)場(chǎng)操作運(yùn)用都難以找準(zhǔn)要求點(diǎn)，更何況是對(duì)以前學(xué)過的知識(shí)或是對(duì)綜合知識(shí)點(diǎn)的實(shí)際運(yùn)用。
二、《推銷與談判》課程教學(xué)問題的原因分析
針對(duì)《推銷與談判》課堂教學(xué)中存在的相關(guān)問題，教師雖然在教材、教具和教學(xué)方法等方面不斷采取方便學(xué)生學(xué)習(xí)的措施，但是學(xué)生改變的效果不明顯，深究背后的原因主要在以下幾點(diǎn)。
1、學(xué)生對(duì)于專業(yè)課重要性認(rèn)識(shí)不夠
在課堂學(xué)習(xí)中，學(xué)生對(duì)于專業(yè)課知識(shí)的學(xué)習(xí)往往流于個(gè)性選擇化，認(rèn)為有用的自己感興趣的知識(shí)就認(rèn)真學(xué)習(xí)。而有的同學(xué)認(rèn)為今后自己不會(huì)走銷售的工作崗位，因此對(duì)于《推銷與談判》課程的學(xué)習(xí)流于形式化，人來就不錯(cuò)了，不會(huì)去下意識(shí)的加強(qiáng)個(gè)人在推銷與談判課程的學(xué)習(xí)。另外，教師陳舊的上課方式也是學(xué)生們不喜歡上課的原因之一。
2、實(shí)踐應(yīng)用能力鍛煉不夠
由于教學(xué)規(guī)章制度、教學(xué)資源和設(shè)施的有限性，使得該門課程不能更多的采用現(xiàn)實(shí)銷售演練和走入市場(chǎng)銷售賣場(chǎng)當(dāng)中的教學(xué)方式來增強(qiáng)學(xué)生們的實(shí)踐應(yīng)用能力。都只能是在課堂或者偶爾在校園里進(jìn)行推銷與談判的實(shí)踐能力演練，缺乏實(shí)踐應(yīng)用操作。
3、缺乏系統(tǒng)的與人才培養(yǎng)目標(biāo)相適應(yīng)的實(shí)訓(xùn)基地
高職教育是面向生產(chǎn)、建設(shè)、管理、服務(wù)一線培養(yǎng)高級(jí)技術(shù)技能型人才的教育，實(shí)訓(xùn)基地建設(shè)是培養(yǎng)目標(biāo)得以實(shí)現(xiàn)的重要保證[1]。但是，目前我校在市場(chǎng)營(yíng)銷類實(shí)習(xí)實(shí)訓(xùn)基地建設(shè)方面投入力度稍微欠缺，現(xiàn)在缺乏在校內(nèi)建設(shè)的仿真、模擬或完全等同于管理工作現(xiàn)場(chǎng)實(shí)際的實(shí)訓(xùn)基地，這需要投入大量資金，而目前學(xué)校力不從心，實(shí)踐教學(xué)也就大打折扣。
三、《推銷與談判》教學(xué)模式改革方式
1、突出職業(yè)定向，培養(yǎng)學(xué)生能力為首要目標(biāo)
從以上描述的情況分析，《推銷與談判》課程教學(xué)模式改革的目的首先應(yīng)該明確的指向改變學(xué)生學(xué)習(xí)積極性和幫助學(xué)生建立職業(yè)目標(biāo)、主動(dòng)學(xué)習(xí)職業(yè)發(fā)展需要的知識(shí)與技能上。要培養(yǎng)和發(fā)展學(xué)生的判斷力，鍛煉學(xué)生的問題解決技能（尤其是“分析技能”與“決策技能”）[2]，其次才是學(xué)習(xí)和了解特定領(lǐng)域里的具體知識(shí)內(nèi)容。忽略了改革的主要目的僅僅強(qiáng)調(diào)教學(xué)方法的改革或教學(xué)管理的改革就會(huì)演變成老師改來改去而學(xué)生無動(dòng)于衷的現(xiàn)象[3]。
2、改革教學(xué)方法，綜合開發(fā)學(xué)生職業(yè)興趣
教師根據(jù)自己在教學(xué)、科研以及為企業(yè)提供管理咨詢中的經(jīng)驗(yàn)，創(chuàng)造有自己獨(dú)特風(fēng)格的教學(xué)方法結(jié)合本校學(xué)生的特殊性，一定要對(duì)現(xiàn)有教學(xué)方法進(jìn)行的改良，可以適當(dāng)?shù)挠诌x擇性的將部分學(xué)生引入到企業(yè)或者社會(huì)中進(jìn)行現(xiàn)實(shí)生活中的推銷與談判課程教學(xué)。要使學(xué)生具有職業(yè)性就必須在具體教學(xué)中強(qiáng)化學(xué)生的職業(yè)能力訓(xùn)練，進(jìn)而綜合開發(fā)學(xué)生的職業(yè)興趣。
3、靈活考評(píng)方式，加強(qiáng)師生互動(dòng)
可以使用傳統(tǒng)的“理論+項(xiàng)目”實(shí)戰(zhàn)的方式對(duì)學(xué)生在課堂上進(jìn)行考核，也可以有針對(duì)的組織部分學(xué)生去市場(chǎng)上進(jìn)行現(xiàn)實(shí)生活實(shí)際的推銷與談判，教師在旁邊對(duì)其表現(xiàn)進(jìn)行考核。當(dāng)然，在整個(gè)《推銷與談判》的課程教學(xué)中，教師與學(xué)生的互動(dòng)和相互之間的疑難解答溝通，都是貫穿整個(gè)課程教學(xué)中最為重要的一個(gè)內(nèi)容，改變以前教師只管上課不管下課后的傳統(tǒng)教學(xué)模式，一定要更多的加強(qiáng)師生間的互動(dòng)，互相促進(jìn)，學(xué)習(xí)好《推銷與談判》這門課程。
參考文獻(xiàn)：
[1]張宇，楊志國(guó).高職管理類課程教學(xué)存在的問題分析[J].中國(guó)電力教育，2008，12（128）：113-114.
推銷學(xué)范文6
【關(guān)鍵詞】信息技術(shù)；中職教育；推銷課程；課程教學(xué)；應(yīng)用研究
素質(zhì)教育與教育現(xiàn)代化工程的深入發(fā)展，給中職推銷課程教學(xué)手段提出了更高的要求，許多諸如多媒體課件和在線學(xué)習(xí)（E-learning）等現(xiàn)代信息技術(shù)均已開始應(yīng)用于實(shí)際課堂教學(xué)中。而在中職推銷課程中怎樣充分運(yùn)用現(xiàn)代化的信息技術(shù)。結(jié)合實(shí)際工作經(jīng)驗(yàn)，筆者擬就我國(guó)信息技術(shù)在中職推銷課程中的應(yīng)用研究做出論述。
1 信息技術(shù)在中職推銷課程教學(xué)中的應(yīng)用思路
1.1 教學(xué)過程和環(huán)節(jié)設(shè)計(jì)方面
在教學(xué)過程和環(huán)節(jié)設(shè)計(jì)等方面，探索出以學(xué)生個(gè)別化自主學(xué)習(xí)和小組協(xié)同學(xué)習(xí)為主集體學(xué)習(xí)為輔的特色教學(xué)組織模式。合理安排自主學(xué)習(xí)、小組學(xué)習(xí)、集中輔導(dǎo)和作業(yè)以及實(shí)踐等教學(xué)環(huán)節(jié)，嘗試實(shí)行模塊制與導(dǎo)學(xué)制教學(xué)。并注重在教學(xué)過程中與學(xué)生進(jìn)行交流，充分尊重學(xué)生的課堂教的主體地位。
1.2 教學(xué)內(nèi)容改革方面
在教學(xué)內(nèi)容改革方面，通過講解大量的國(guó)內(nèi)外推銷實(shí)例，增加對(duì)本學(xué)科的前沿知識(shí)的講解，嘗試運(yùn)用案例式、開放式和鏈結(jié)式的教學(xué)方式。既增強(qiáng)了學(xué)生應(yīng)用推銷理論分析和解決問題的實(shí)際能力，又拓寬了中職學(xué)生的視野，開闊了學(xué)生的思路。
1.3 教學(xué)手段方面
以網(wǎng)絡(luò)為核心，結(jié)合學(xué)校及學(xué)生實(shí)際條件，實(shí)行多種技術(shù)與媒體相結(jié)合的手段，通過小組討論和網(wǎng)上BBS答疑開展多樣化和交互式的學(xué)習(xí)活動(dòng)，嘗試實(shí)行插播式與討論式的教學(xué)手段，使學(xué)生能便利、經(jīng)濟(jì)及有效地學(xué)習(xí)最新知識(shí)。
2 信息技術(shù)在中職推銷課程教學(xué)中的具體應(yīng)用措施
2.1設(shè)計(jì)適合中職推銷課程教學(xué)改革的一體化方案，制定出能體現(xiàn)“少、精、寬和新”等特點(diǎn)的中職推銷課程教學(xué)規(guī)劃
根據(jù)中職推銷課程的性質(zhì)及其在該專業(yè)整個(gè)課程體系中的地位和作用，在分析學(xué)生實(shí)際學(xué)習(xí)需要基礎(chǔ)上，嘗試設(shè)計(jì)一種網(wǎng)絡(luò)環(huán)境下的切合學(xué)校實(shí)際的關(guān)于課程教學(xué)的改革方案。
2.2 嘗試實(shí)行案例式、開放式和鏈接式教學(xué)，注重加強(qiáng)開放，交互式學(xué)習(xí)活動(dòng)，充分利用多種媒體教學(xué)資源及相關(guān)現(xiàn)代教育技術(shù)手段，進(jìn)一步改革教學(xué)內(nèi)容和教學(xué)方式
2.2.1 適當(dāng)分開課堂講授體系與教材體系，重在解答教材中的重點(diǎn)和難點(diǎn)問題；適當(dāng)增加對(duì)本學(xué)科前沿知識(shí)和公司案例的講授，將營(yíng)銷理論與現(xiàn)實(shí)實(shí)踐緊密結(jié)合，適當(dāng)進(jìn)行“情境創(chuàng)設(shè)”，將講評(píng)作業(yè)，社會(huì)調(diào)研結(jié)論與對(duì)學(xué)科知識(shí)的拓展學(xué)習(xí)緊密結(jié)合起來，打破傳統(tǒng)的“封閉式”教學(xué)，實(shí)現(xiàn)精講多練，學(xué)用結(jié)合，使學(xué)習(xí)者通過“同化”與“順應(yīng)”達(dá)到對(duì)新知識(shí)意義的建構(gòu)。
2.2.2 積極嘗試?yán)糜?jì)算機(jī)投影設(shè)備，網(wǎng)上直播等現(xiàn)代化教學(xué)設(shè)施，開展多樣化，交互學(xué)習(xí)活動(dòng)。首先，在充分熟悉和掌握本課程多種媒體教學(xué)資源的種類與內(nèi)容的基礎(chǔ)上。其次，運(yùn)用多媒體計(jì)算機(jī)設(shè)備進(jìn)行課堂教學(xué)，嘗試實(shí)行插播式和鏈接式教學(xué)。
2.2.3 積極采用QQ、E-mail和BBS等現(xiàn)代化教學(xué)設(shè)施，對(duì)學(xué)生的疑問進(jìn)行解答和回復(fù)。建立多種與學(xué)生進(jìn)行互動(dòng)的方式，利用QQ、QQ群、E-mail和BBS等形式，在課下與學(xué)生進(jìn)行互動(dòng)，回答學(xué)生的課堂疑問，與學(xué)生對(duì)知識(shí)點(diǎn)進(jìn)行討論，開展多樣化的交互式學(xué)習(xí)活動(dòng)。
2.3 嘗試實(shí)行導(dǎo)學(xué)式和討論式教學(xué)，不斷探索體現(xiàn)終身教育思想和建構(gòu)主義教育理論的個(gè)人自主學(xué)習(xí)和小組學(xué)習(xí)的新形式
學(xué)校網(wǎng)絡(luò)教育更加強(qiáng)調(diào)教師“導(dǎo)學(xué)”下的學(xué)生自主學(xué)習(xí)。因此，在教學(xué)中通過公布教師的通訊地址以及全校本課程的教師資源庫信息，安排組織學(xué)生參加BBS討論，網(wǎng)上答疑等教學(xué)活動(dòng)，鼓勵(lì)師生，生生之間的學(xué)習(xí)交流活動(dòng)。建構(gòu)主義的一個(gè)基本觀點(diǎn)就是要使學(xué)生在教師的組織和引導(dǎo)下一起討論和交流，形成一個(gè)共同的學(xué)習(xí)群體。因此，小組協(xié)作學(xué)習(xí)是網(wǎng)絡(luò)教育的又一重要形式。
2.4 探索多樣化形式，進(jìn)一步加大對(duì)實(shí)踐教學(xué)的探索
加強(qiáng)實(shí)踐性教學(xué)是本課程的特點(diǎn)和本“試點(diǎn)項(xiàng)目”的要求。首先，我們明確設(shè)計(jì)了課內(nèi)實(shí)踐教學(xué)的內(nèi)容與要求，并通過輔導(dǎo)課上的案例教學(xué)與小組討論加以實(shí)施。使之不僅成為激發(fā)學(xué)生興趣，訓(xùn)練學(xué)生提出和解決問題能力的有效途徑，而且也成為實(shí)踐性教學(xué)的重要環(huán)節(jié)之一。其次，通過完成“教學(xué)實(shí)踐與社會(huì)調(diào)研”作業(yè)來達(dá)到增強(qiáng)學(xué)生應(yīng)用與創(chuàng)新能力的目的。
2.5 實(shí)行分層交叉模塊制，充分發(fā)揮網(wǎng)絡(luò)教育各教學(xué)環(huán)節(jié)綜合互補(bǔ)作用
結(jié)合具體實(shí)例簡(jiǎn)要介紹各模塊在具體教學(xué)過程中是如何組織實(shí)施的。首先，在對(duì)課程教學(xué)的基礎(chǔ)上，選出當(dāng)前所學(xué)知識(shí)中的“主題”，然后再將其與不同的教學(xué)環(huán)節(jié)相結(jié)合形成不同的教學(xué)模塊。其次，實(shí)現(xiàn)各教學(xué)模塊既分層又交叉，并滲透于各教學(xué)環(huán)節(jié)之中。第一步是課前引導(dǎo)。旨在使學(xué)生明確本章的核心內(nèi)容、學(xué)習(xí)宗旨與要點(diǎn)、自學(xué)方法建議與要求，有針對(duì)性地選擇學(xué)習(xí)資源與方法。第二步是個(gè)別化自主學(xué)習(xí)。旨在培養(yǎng)學(xué)生根據(jù)需要決定學(xué)習(xí)內(nèi)容、方式和進(jìn)度的能力，使學(xué)生不僅了解、掌握本章的主要概念和基本原理，而且還要明確本章的重點(diǎn)和難點(diǎn)，提出沒有理解和希望解決的問題反饋給學(xué)生。第三步是課堂面授學(xué)習(xí)。本環(huán)節(jié)包括面授課教學(xué)模塊、音像課教學(xué)模塊和網(wǎng)上直播課教學(xué)模塊等。第四步是課外小組學(xué)習(xí)。重點(diǎn)是在自學(xué)過程的第二和第三階段開展相互學(xué)習(xí)，討論和參觀學(xué)習(xí)活動(dòng)，旨在交流信息，解決疑難問題，綜合眾人智慧，發(fā)揮群體合力以完成共性問題，以利于教學(xué)實(shí)踐與社會(huì)調(diào)研活動(dòng)的開展與完成。第五步是作業(yè)和實(shí)踐。通過完成本單元課程作業(yè)并和實(shí)踐考核模塊交叉結(jié)合來培養(yǎng)學(xué)生的實(shí)際應(yīng)用能力和創(chuàng)新思維能力。
3 結(jié)論
在中職推銷課程教學(xué)過程中應(yīng)用現(xiàn)代信息技術(shù)，應(yīng)堅(jiān)持學(xué)科和信息技術(shù)整合的觀念，即以中職學(xué)生的實(shí)際需要為重心，重點(diǎn)突出“以學(xué)生及其自主學(xué)習(xí)為重心”的設(shè)計(jì)思想，探索出在知識(shí)經(jīng)濟(jì)時(shí)代大背景下能體現(xiàn)中職學(xué)生自主學(xué)習(xí)的學(xué)習(xí)模式。并以理論學(xué)習(xí)來指導(dǎo)實(shí)踐，以教學(xué)實(shí)踐來檢驗(yàn)研究成果，進(jìn)一步推動(dòng)中職推銷課程實(shí)踐開展。
參考文獻(xiàn)：
[1]李紅. 探索現(xiàn)代信息技術(shù)在中職專業(yè)課中的運(yùn)用[J]. 中國(guó)信息技術(shù)教育, 2010,(22).
[2] 黃建蓉. 現(xiàn)代信息技術(shù)應(yīng)用于中職英語的教學(xué)創(chuàng)新[J]. 福建基礎(chǔ)教育研究, 2010,(04) .
