Courseware Using the hardware and software described above, the core of this project is to plan and produce courseware, by which the contents and flows of the study materials are represented. Courseware follows a grand story to investigate the secret of Aunt Mariko by finding out the location a photo was taken. The old photo shows young Aunt Mariko standing by a river, who was studying in the United States. Depending upon the correctness of choices in the adventure, the user will see different endings (solve or falsely solve the mystery) or will not be able to see the ending at all and be forced out in the midst of the adventure (timeout).
使用上述硬件和軟件，這個(gè)項目的核心就是計劃射生產(chǎn)課件，用于展示學(xué)習材料的內容與進(jìn)程。課件根據一個(gè)偉大的故事通過(guò)發(fā)現一張所拿照片的位置調查阿姨的秘密。這張老照片顯示年輕的阿姨站在河邊。根據在這個(gè)冒險活動(dòng)中的不同選擇，使用者將看到不同的結果。（解決或不能解決疑惑）或者根本就不能看到結果，而在中途被逐出。
In the quest for the secret of aunt Mariko, the user of the program has to listen to English conversations, in order to select a better answer in return. The choices consist of either ‘guesses‘ of what was heard, or ‘a(chǎn)ctions‘ to advance the situation. By doing so, the user is expected to develop his or her listening comprehension skill, which is the educational objective of this courseware in the cognitive sense.
在探索秘密的過(guò)程中，程序的使用者不得不聆聽(tīng)英語(yǔ)對話(huà)，以便能夠選擇正確的答案。這些選擇包括對所聽(tīng)的猜測，以及推進(jìn)進(jìn)程的行為。通過(guò)這種做法，就有可能發(fā)展使用者的聽(tīng)力技能，也就是在認知領(lǐng)域的教育目標。
For the choices based on a misunderstanding of what a character of the scene said, the program does not answer by saying "No, the correct answer is such and such". However, the program either branches to an additional happening and branches back to the original scene, or asks the user to try to listen again by re-presenting the question slower. This brings the user repetitive opportunities to listen to the same questions, with a time penalty. For those who often fail to make best choices, they will run out of time to complete required quests. Then they would be forced out from the program and must start over again from the beginning, to get repetitive chances of listening.
因為這些選擇是基于對景象特征所描述的誤解，這個(gè)程序不可能獲得“不對，爭取答案是、、、”的答案。該程序或者指向一個(gè)附加的狀況，或者回到原來(lái)的屏幕，或者讓使用者去設法再聽(tīng)一遍對剛剛呈現問(wèn)題的慢放。這就給使用者提供了一些反復聆聽(tīng)相同問(wèn)題的機會(huì )，只是浪費了一些時(shí)間。對于那些經(jīng)常不能找到正確答案的學(xué)生來(lái)說(shuō)，他們將會(huì )超時(shí)。那么他們就會(huì )從程序中被迫出來(lái)，必須重新啟動(dòng)，從開(kāi)始繼續，繼續進(jìn)行重復的聽(tīng)力練習。
The second educational objective is to prevent the user from becoming bored of or feeling forced into the repetitive training of English conversation. This objective deals with the affective aspect of learning, especially with motivational concerns. It is expected that by making an English student to amateur investigator, the perceived goal of the courseware would become not to study English but to have fun of solving the Mariko‘s secret. Any improvement of listening comprehension skill would then become almost a byproduct of having fun with this "entertainment", where boredom is no longer the issue.
第二個(gè)教育目標就是要防止使用者對英語(yǔ)對話(huà)的重復訓練感到厭煩或感覺(jué)被動(dòng)（被迫）。這個(gè)目標是關(guān)于學(xué)習的情感方面的，尤其是與動(dòng)機相關(guān)。我們所期望的是，通過(guò)讓一個(gè)英語(yǔ)學(xué)習者充當調查者，來(lái)使這種課程的目標不再是學(xué)習英語(yǔ)，而是解決困難的游戲。聽(tīng)力技巧的提高就將成為一種娛樂(lè )游戲的副產(chǎn)品，從而這種厭倦也就不再成為問(wèn)題了。
In order to come closer to the mystery of the aunt Mariko, the user of the courseware take a role of our hero Ken‘ichi, who lives in a dormitory of an American university and is asked by his uncle (Mariko‘s husband and his financial supporter) to find out the secret in 5 days. Each day is filled up with an adventure an American college student‘s everyday life, such as a surprise party, a date with Sari, and making a phone call to reserve a dinner party at a Chinese restaurant. Depending on how well the user performed on the previous day, a chance to challenge for a clue to the mystery will become available, such as searching the aunt‘s name at the alumni association and doing an interview with whom Mariko may have been acquainted. On the final day, Ken‘ichi will be told by his uncle the real reason of his asking Ken‘ichi to investigate the secret, the reason being different depending on the total score of the quest, or he would be cut out the financial support if the performance were too low. 為了能夠更加接近阿姨的秘密，課件的使用者扮演了我們住在美國大學(xué)宿舍中的英雄角色，并且，他的叔叔要求他在5天之內找到這個(gè)秘密。每一天都充滿(mǎn)了冒險，例如一場(chǎng)驚奇的聚會(huì )，一個(gè)約會(huì )，和打一個(gè)電話(huà)在中國餐館的晚餐電話(huà)等。根據使用者前幾天的表現，就會(huì )獲得一次對秘密線(xiàn)索進(jìn)行挑戰的機會(huì )，例如在畢業(yè)組織中尋找阿姨的姓名，和對阿姨可能認識的人進(jìn)行采訪(fǎng)等。在最后一天，叔叔就會(huì )告知這個(gè)英雄，他讓他來(lái)調查秘密的真正原因，根據探險總數的不同原因也會(huì )有所區別，或者如果成績(jì)太差，他就會(huì )縮減所提供的財政支持。 MOTIVATIONAL DESIGN The ARCS motivational design model The presenter (first author) of this paper was brought into the project because of his background in motivational design, particularly the use of the ARCS model originated by Keller (1983; 1984). The ARCS model of motivational design suggests four basic categories of motivational strategies: gaining and sustaining ATTENTION, establishing perceived RELEVANCE of instruction, building CONFIDENCE in succeeding the given task, and providing with SATISFACTION for the consequences of the effort put into the learning. The name of the ARCS represents these four basic categories.
第一作者由于其動(dòng)機設計的背景，尤其是使用凱勒提出的ARCS模式二進(jìn)入了這個(gè)項目。動(dòng)機設計模式提出了四個(gè)動(dòng)機策略的類(lèi)別，激發(fā)和保持注意，建立教學(xué)的相關(guān)，建立成功完成任務(wù)的自信，對投入到學(xué)習中的努力的結果提供滿(mǎn)足。
Numerous strategies have been suggested in various instructional settings such as classroom activity planning, message design, textbook enhancement, and computer courseware design (Keller, 1984; Keller & Burkman, 1993; Keller & Kopp, 1987; Keller & Suzuki, 1988). The model has become well known due to its applicability to any forms of instruction, and its comprehensive structure addressing psychological research literature (Newby, 1991). 在各種各樣的教學(xué)環(huán)境中，例如教師活動(dòng)計劃，信息設計，課本提高輔導，計算機課件設計等，已經(jīng)提到了無(wú)數的策略。這個(gè)模式以其用于任何教學(xué)形式，及其以心理研究文學(xué)為根基富有理解性的結構已經(jīng)成為了的著(zhù)名線(xiàn)索。 Motivational Analysis of the Product The characteristics of the product "The secret of Aunt Mariko" have been analyzed according to the four basic categories of the ARCS model, as shown in Table 1. This summary is based on the comments from the originator of the ARCS model in September 1992 to a prototype product, with some additions from an analysis of the final product in February 1993 by the Theory Team of the project.
---根據這四個(gè)特征對這個(gè)產(chǎn)品進(jìn)行分析，如圖一。這個(gè)總結是基于從1992年這一模式的發(fā)起到原型產(chǎn)品，以及從項目理論組1993年2月對最終產(chǎn)品的分析的評論所作。
Table 1. Insert about here
--- Process of Motivational Design It is apparent in Table 1 that many motivational strategies can be identified in all of the ARCS four categories. However, as Keller suggests, it is not the best way of motivational enhancement to adopt as many strategies as possible. In stead, inclusion of the strategies should be selective, in order to fit the motivational characteristics brought by the learner, the task, and the learning environment. The notion of systematic motivational design comes in to play an important role in this regard.
許多動(dòng)機策略能夠根據四個(gè)類(lèi)別進(jìn)行定義。然而，正象凱勒所說(shuō)，盡可能多的采納各種策略不是動(dòng)機激發(fā)的最好方式，相反，所包含的策略應當具有選擇性，為了使提出的動(dòng)機特性與學(xué)習者、任務(wù)和學(xué)習環(huán)境相匹配。在這個(gè)意義上說(shuō)系統的動(dòng)機設計概念的得出是非常重要的。
In the course of the systematic process of defining, designing, developing, and piloting an instructional material, Keller (1987) suggests 12 phases or activities of motivational design. Among these there are the three important activities; that is, audience analysis, selective adoption of motivational strategies, and formative evaluation and revision of the material.
在定義、設計、開(kāi)發(fā)和試用一個(gè)教學(xué)材料系統過(guò)程中，凱勒提出了動(dòng)機設計的12個(gè)方面或是12個(gè)活動(dòng)。其中又三個(gè)重要的活動(dòng)，即受眾分析，動(dòng)機策略的選擇性采納和對材料的形成行評價(jià)與修訂。
Audience analysis refers to making a learner profile as to how appealing the instruction would be, based on the ARCS four categories. This provides a basis for the selective adoption of motivational strategies, where relative emphasis of motivational enhancement is judged to match learners‘ profile. For example, if the learners are expected to be anxiously waiting for the instruction, then strategies for getting Attention will be omitted because they would be unnecessary. If, on the other hand, the learners are forced to be "captive audience", then Attention strategies will be necessary to prevent the learners from thinking something else in the air.
受眾分析指出基于四個(gè)種類(lèi)，根據教育怎樣又吸引力來(lái)分析學(xué)習者。這對于動(dòng)機策略的選擇性采納提供了一個(gè)基礎，從而判斷動(dòng)機強化的相對焦點(diǎn)與學(xué)習者的特征是否相匹配。例如，如果期待學(xué)習者只是焦急地等待教學(xué)，那么獲取注意的策略就將被忽略，因為他們不是必需的。如果，學(xué)習者被迫成為被動(dòng)受眾，那么注意策略將變得非常重要以防止學(xué)習者走神。
The third of the important activities is formative evaluation and revision of instructional materials using empirical data. It should be noted that the summary of motivational characteristics shown in Table 1 is merely a theoretical observation, which suggests possible motivational effects of the product. Actual effects can only be examined with empirical data from courseware evaluation, as shown later in this paper.
重要活動(dòng)的第三個(gè)就是應用經(jīng)驗數據對教學(xué)材料進(jìn)行形成性的評價(jià)和修訂。在表一中所呈現的動(dòng)機特征的歸納緊緊是一種理論性的觀(guān)察，這將暗示產(chǎn)品可能的動(dòng)機效應。實(shí)際效應只能從課件的評價(jià)，如下所示中以經(jīng)驗型的數據進(jìn)行檢驗。
Despite of the recommended procedures of motivational design described above, the motivational design in this project came into a play almost post hoc, trying to interpret the ideas formulated by the project‘s Development Team with expertise and experiences of producing commercially well-known TV games. Table 2 shows some observations of the design and development procedures of the project in terms of motivation design.
---盡管上面描述的動(dòng)機設計推薦程序，但是，這個(gè)項目中的動(dòng)機設計得出了一個(gè)幾乎能夠公開(kāi)的劇目，它設法闡釋了由項目開(kāi)發(fā)和專(zhuān)家形成的看法以及生產(chǎn)商業(yè)著(zhù)名的電視節目的經(jīng)驗。表二表明了一些從東機設計角度對該項目的程序設計和開(kāi)發(fā)的觀(guān)察。
Table 2. Insert about here
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The notion of motivation design and the ARCS model‘s categories and strategies did help clarifying the goal of the project and various means to that end, it was how far the contributions from this Theory Team could go in this particular case. In other words, the role of theoretical notions was more descriptive than prescriptive, not suggesting the best of the alternatives from the theory, but trying to explain, using the theory, why the experts took certain actions .
動(dòng)機設計的觀(guān)念和ARCS模式的分類(lèi)與策略確實(shí)有助于闡明該項目的目標和多種實(shí)現目目標的渠道，這就是在這個(gè)特定項目中理論組所做的貢獻。換句話(huà)說(shuō)，理論觀(guān)念的指責更具描述性和說(shuō)明性，并不 |
