Literatura académica sobre el tema "Zhong yue guan xi"

Chinese civilization has always been called "rites and music civilization"(li-yue-wen-ming ). It is also the due meaning of sacred education to educate the people and change customs with rites and music. Chinese sage education aims to cultivate benevolent gentlemen with five constant virtues, which are based on benevolence, and this benevolence is embodied in the civilization of rites and music in Chinese society. It is precisely because of "the substance and function relationship"(ti-yong-guan-xi ) between benevolence and "the system of rites and music"(li-yue-zhi-du ) that Zhu Zi's Xiao Xue education pays particular attention to cultivating gentlemen with ideal personality through rites and music education.

Chinese civilization has always been called "rites and music civilization"(li-yue-wen-ming ). It is also the due meaning of sacred education to educate the people and change customs with rites and music. Chinese sage education aims to cultivate benevolent gentlemen with five constant virtues, which are based on benevolence, and this benevolence is embodied in the civilization of rites and music in Chinese society. It is precisely because of "the substance and function relationship"(ti-yong-guan-xi ) between benevolence and "the system of rites and music"(li-yue-zhi-du ) that Zhu Zi's Xiao Xue education pays particular attention to cultivating gentlemen with ideal personality through rites and music education.

Abstract Background: Nowadays, dual HER2-targeted therapy has become the mainstay for high-risk HER2-positive breast cancer. However, for low-risk resectable HER2-positive breast cancer, the optimal adjuvant regimen remains inconclusive. Mono anti-HER2 antibody combined with single-agent chemotherapy has become a recommended adjuvant regimen for N0, small HER2-positive tumors, but there is scarcity of evidence on tyrosine kinase inhibitors (TKIs) for low-risk HER2-positive breast cancer. The randomized phase III PHOEBE trial has proved the superiority of pyrotinib, a novel irreversible pan-ErbB receptor TKI targeting HER1, HER2, and HER4, over lapatinib when in combination with capecitabine for HER2-positive metastatic breast cancer. We believe pyrotinib can also show promising activity in early breast cancer. Regarding the chemotherapy backbone, nab-paclitaxel exhibits its therapeutic advantage over solvent-based paclitaxel and is widely used in combination with immunotherapy. This study is conducted to evaluate pyrotinib plus nab-paclitaxel in the adjuvant setting for patients with low-risk HER2-positive breast cancer. Moreover, diarrhea is the most common adverse event of pan-HER TKIs. Given the unknown incidence and severity of diarrhea with pyrotinib plus nab-paclitaxel and no consensus on therapeutic or prophylactic strategy of pyrotinib-related diarrhea, a sub-study is conducted to investigate the effect of different prophylactic strategies with loperamide for diarrhea. Trial design: This is a multicenter, open-label, single-arm phase II study. Patients will receive nab-paclitaxel 260 mg/m2 once every 3 weeks for 12 weeks and pyrotinib 240 mg once daily for one year within 90 days after surgery. In the sub-study, 120 patients will be randomly (1:1) assigned to two cohorts. Cohort A will receive loperamide during cycle 1 of adjuvant therapy with pyrotinib plus nab-paclitaxel, at a dose of 4 mg three times a day on days 1-7 and 4 mg twice a day on days 8-21. Cohort B will receive loperamide during cycles 1 and 2 of adjuvant therapy, at a dose of 4 mg three times a day on days 1-7 and 4 mg twice a day on days 8-42. Eligibility criteria: Women aged 18-75 years with histologically confirmed N0/N1mi, HER2-positive invasive breast cancer, primary tumor ≤3 cm, ECOG performance score of 0 or 1, known hormone receptor status, and adequate bone marrow, hepatic, renal, and cardiac function. Aims: The primary endpoint is invasive disease-free survival (iDFS). Secondary endpoints are safety and tolerability. In the sub-study, the primary endpoint is the incidence of grade ≥3 diarrhea, and secondary endpoints include the incidence and severity of diarrhea during the first 2 cycles of adjuvant therapy, the incidence and severity of constipation, the onset time, frequency and duration of grade ≥3 diarrhea, relationship between diarrhea and study drugs, the incidence of dose reduction, discontinuation and hospitalization due to diarrhea, and quality of life questionnaire score using the Functional Assessment of Cancer Therapy-Breast. Statistical methods: The primary efficacy analysis will be performed in the full analysis set, defined as all patients with at least one dose of study drug. iDFS will be estimated using Kaplan-Meier method. Safety will be analyzed in the safety set, defined as all patients with at least one dose of study drug and at least one safety assessment. Accrual: Target accrual is 261 patients at approximately 5 sites in China. The first patient was enrolled on January 14, 2021. Accrual is ongoing. Citation Format: Changjun Wang, Yidong Zhou, Yan Lin, Feng Mao, Jinghong Guan, Xiaohui Zhang, Songjie Shen, Xuejing Wang, Yanna Zhang, Bo Pan, Ying Zhong, Li Peng, Xi Cao, Ru Yao, Xingtong Zhou, Chi Xu, Ying Xu, Qiang Sun. Phase II study of pyrotinib plus nanoparticle albumin-bound (nab)-paclitaxel as adjuvant therapy for lymph node-negative (N0) or micrometastatic (N1mi), HER2-positive early breast cancer (PHAEDRA) [abstract]. In: Proceedings of the 2021 San Antonio Breast Cancer Symposium; 2021 Dec 7-10; San Antonio, TX. Philadelphia (PA): AACR; Cancer Res 2022;82(4 Suppl):Abstract nr OT1-12-03.

BACKGROUND: Hypertension has become one of the most pathogenic diseases in the world. OBJECTIVE: This paper summarizes and analyzes the acupuncture point combinations and treatment principles of acupuncture for hypertension in a systematic way by means of big data mining. METHODS: The literature for this paper was obtained from CNKI, Wanfang, VIP, SinoMed and PubMed, Embase, Cochrane Library, Web of Science, and Ovid databases. Thedata were collected to obtain combinations of acupoints with strong associations through association rule analysis, complex networks for screening to obtain core acupoint nuclei, and cluster analysis to derive treatment principles. RESULTS: A total of 127 acupuncture prescriptions involving 66 acupoints were included in this study. Tai-chong (LR3), Qu-chi (LI11), Zu-san-li (ST36), Feng-chi (GB20), and He-gu (LI4) were the most commonly used acupoints. The large intestine meridian was the preferred meridian, and most of the extremity acupoints, especially the lower extremities, were selected clinically. The association rule reveals that Qu-chi (LI11) and Zu-san-li (ST36) are the dominant combination acupoints. 3 core association points obtained after complex network analysis, the 1st association, Bai-hui (DU20), Tai-xi (KI3), Gan-shu (BL18), Shen-shu (BL23); The 2nd association, Qu-chi (LI11), He-gu (LI4), San-yin-jiao (SP6), Zu-san-li (ST36), Feng-chi (GB20), Tai-chong (LR3); The 3rd association, Qi-hai (RN6), Guan-yuan (RN4), Zhong-wan (RN12), Zhao-hai (KI6), Tai-yang (EX-HN5), Lie-que (LU7), Yang-ling-quan (GB34), Xing-jian (LR2), Yin-ling-quan (SP9). Cluster analysis yielded the treatment principles of nourishing Yin and submerging Yang, pacifying the liver and submerging Yang, tonifying Qi and Blood, and calming the mind and restoring the pulse, improving clinical outcomes. CONCLUSION: By means of big data mining, we can provide reference for acupuncture point grouping and selection for clinical acupuncture treatment of hypertension.

The curtain rose. The howling of desert wind filled the performance hall in the Shanghai Grand Theatre. Into the center stage, where a scenic construction of a mountain cliff and a desert landscape was dimly lit, entered the character of the Daoist priest Wang Yuanlu (1849–1931), performed by Chen Yizong. Dressed in a worn and dusty outfit of dark blue cotton, characteristic of Daoist priests, Wang began to sweep the floor. After a few moments, he discovered a hidden chambre sealed inside one of the rock sanctuaries carved into the cliff.Signaled by the quick, crystalline, stirring wave of sound from the chimes, a melodious Chinese ocarina solo joined in slowly from the background. Astonished by thousands of Buddhist sūtra scrolls, wall paintings, and sculptures he had just accidentally discovered in the caves, Priest Wang set his broom aside and began to examine these treasures. Dawn had not yet arrived, and the desert sky was pitch-black. Priest Wang held his oil lamp high, strode rhythmically in excitement, sat crossed-legged in a meditative pose, and unfolded a scroll. The sound of the ocarina became fuller and richer and the texture of the music more complex, as several other instruments joined in.Below is the opening scene of the award-winning, theatrical dance-drama Dunhuang, My Dreamland, created by China’s state-sponsored Lanzhou Song and Dance Theatre in 2000. Figure 1a: Poster Side A of Dunhuang, My Dreamland Figure 1b: Poster Side B of Dunhuang, My DreamlandThe scene locates the dance-drama in the rock sanctuaries that today are known as the Dunhuang Mogao Caves, housing Buddhist art accumulated over a period of a thousand years, one of the best well-known UNESCO heritages on the Silk Road. Historically a frontier metropolis, Dunhuang was a strategic site along the Silk Road in northwestern China, a crossroads of trade, and a locus for religious, cultural, and intellectual influences since the Han dynasty (206 B.C.E.–220 C.E.). Travellers, especially Buddhist monks from India and central Asia, passing through Dunhuang on their way to Chang’an (present day Xi’an), China’s ancient capital, would stop to meditate in the Mogao Caves and consult manuscripts in the monastery's library. At the same time, Chinese pilgrims would travel by foot from China through central Asia to Pakistan, India, Nepal, Bangladesh, and Sri Lanka, playing a key role in the exchanges between ancient China and the outside world. Travellers from China would stop to acquire provisions at Dunhuang before crossing the Gobi Desert to continue on their long journey abroad. Figure 2: Dunhuang Mogao CavesThis article approaches the idea of “abroad” by examining the present-day imagination of journeys along the Silk Road—specifically, staged performances of the various Silk Road journey-themed dance-dramas sponsored by the Chinese state for enhancing its cultural and foreign policies since the 1970s (Kuang).As ethnomusicologists have demonstrated, musicians, choreographers, and playwrights often utilise historical materials in their performances to construct connections between the past and the present (Bohlman; Herzfeld; Lam; Rees; Shelemay; Tuohy; Wade; Yung: Rawski; Watson). The ancient Silk Road, which linked the Mediterranean coast with central China and beyond, via oasis towns such as Samarkand, has long been associated with the concept of “journeying abroad.” Journeys to distant, foreign lands and encounters of unknown, mysterious cultures along the Silk Road have been documented in historical records, such as A Record of Buddhist Kingdoms (Faxian) and The Great Tang Records on the Western Regions (Xuanzang), and illustrated in classical literature, such as The Travels of Marco Polo (Polo) and the 16th century Chinese novel Journey to the West (Wu). These journeys—coming and going from multiple directions and to different destinations—have inspired contemporary staged performance for audiences around the globe.Home and Abroad: Dunhuang and the Silk RoadDunhuang, My Dreamland (2000), the contemporary dance-drama, staged the journey of a young pilgrim painter travelling from Chang’an to a land of the unfamiliar and beyond borders, in search for the arts that have inspired him. Figure 3: A scene from Dunhuang, My Dreamland showing the young pilgrim painter in the Gobi Desert on the ancient Silk RoadFar from his home, he ended his journey in Dunhuang, historically considered the northwestern periphery of China, well beyond Yangguan and Yumenguan, the bordering passes that separate China and foreign lands. Later scenes in Dunhuang, My Dreamland, portrayed through multiethnic music and dances, the dynamic interactions among merchants, cultural and religious envoys, warriors, and politicians that were making their own journey from abroad to China. The theatrical dance-drama presents a historically inspired, re-imagined vision of both “home” and “abroad” to its audiences as they watch the young painter travel along the Silk Road, across the Gobi Desert, arriving at his own ideal, artistic “homeland”, the Dunhuang Mogao Caves. Since his journey is ultimately a spiritual one, the conceptualisation of travelling “abroad” could also be perceived as “a journey home.”Staged more than four hundred times since it premiered in Beijing in April 2000, Dunhuang, My Dreamland is one of the top ten titles in China’s National Stage Project and one of the most successful theatrical dance-dramas ever produced in China. With revenue of more than thirty million renminbi (RMB), it ranks as the most profitable theatrical dance-drama ever produced in China, with a preproduction cost of six million RMB. The production team receives financial support from China’s Ministry of Culture for its “distinctive ethnic features,” and its “aim to promote traditional Chinese culture,” according to Xu Rong, an official in the Cultural Industry Department of the Ministry. Labeled an outstanding dance-drama of the Chinese nation, it aims to present domestic and international audiences with a vision of China as a historically multifaceted and cosmopolitan nation that has been in close contact with the outside world through the ancient Silk Road. Its production company has been on tour in selected cities throughout China and in countries abroad, including Austria, Spain, and France, literarily making the young pilgrim painter’s “journey along the Silk Road” a new journey abroad, off stage and in reality.Dunhuang, My Dreamland was not the first, nor is it the last, staged performances that portrays the Chinese re-imagination of “journeying abroad” along the ancient Silk Road. It was created as one of many versions of Dunhuang bihua yuewu, a genre of music, dance, and dramatic performances created in the early twentieth century and based primarily on artifacts excavated from the Mogao Caves (Kuang). “The Mogao Caves are the greatest repository of early Chinese art,” states Mimi Gates, who works to increase public awareness of the UNESCO site and raise funds toward its conservation. “Located on the Chinese end of the Silk Road, it also is the place where many cultures of the world intersected with one another, so you have Greek and Roman, Persian and Middle Eastern, Indian and Chinese cultures, all interacting. Given the nature of our world today, it is all very relevant” (Pollack). As an expressive art form, this genre has been thriving since the late 1970s contributing to the global imagination of China’s “Silk Road journeys abroad” long before Dunhuang, My Dreamland achieved its domestic and international fame. For instance, in 2004, The Thousand-Handed and Thousand-Eyed Avalokiteśvara—one of the most representative (and well-known) Dunhuang bihua yuewu programs—was staged as a part of the cultural program during the Paralympic Games in Athens, Greece. This performance, as well as other Dunhuang bihua yuewu dance programs was the perfect embodiment of a foreign religion that arrived in China from abroad and became Sinicized (Kuang). Figure 4: Mural from Dunhuang Mogao Cave No. 45A Brief History of Staging the Silk Road JourneysThe staging of the Silk Road journeys abroad began in the late 1970s. Historically, the Silk Road signifies a multiethnic, cosmopolitan frontier, which underwent incessant conflicts between Chinese sovereigns and nomadic peoples (as well as between other groups), but was strongly imbued with the customs and institutions of central China (Duan, Mair, Shi, Sima). In the twentieth century, when China was no longer an empire, but had become what the early 20th-century reformer Liang Qichao (1873–1929) called “a nation among nations,” the long history of the Silk Road and the colourful, legendary journeys abroad became instrumental in the formation of a modern Chinese nation of unified diversity rooted in an ancient cosmopolitan past. The staged Silk Road theme dance-dramas thus participate in this formation of the Chinese imagination of “nation” and “abroad,” as they aestheticise Chinese history and geography. History and geography—aspects commonly considered constituents of a nation as well as our conceptualisations of “abroad”—are “invariably aestheticized to a certain degree” (Bakhtin 208). Diverse historical and cultural elements from along the Silk Road come together in this performance genre, which can be considered the most representative of various possible stagings of the history and culture of the Silk Road journeys.In 1979, the Chinese state officials in Gansu Province commissioned the benchmark dance-drama Rain of Flowers along the Silk Road, a spectacular theatrical dance-drama praising the pure and noble friendship which existed between the peoples of China and other countries in the Tang dynasty (618-907 C.E.). While its plot also revolves around the Dunhuang Caves and the life of a painter, staged at one of the most critical turning points in modern Chinese history, the work as a whole aims to present the state’s intention of re-establishing diplomatic ties with the outside world after the Cultural Revolution. Unlike Dunhuang, My Dreamland, it presents a nation’s journey abroad and home. To accomplish this goal, Rain of Flowers along the Silk Road introduces the fictional character Yunus, a wealthy Persian merchant who provides the audiences a vision of the historical figure of Peroz III, the last Sassanian prince, who after the Arab conquest of Iran in 651 C.E., found refuge in China. By incorporating scenes of ethnic and folk dances, the drama then stages the journey of painter Zhang’s daughter Yingniang to Persia (present-day Iran) and later, Yunus’s journey abroad to the Tang dynasty imperial court as the Persian Empire’s envoy.Rain of Flowers along the Silk Road, since its debut at Beijing’s Great Hall of the People on the first of October 1979 and shortly after at the Theatre La Scala in Milan, has been staged in more than twenty countries and districts, including France, Italy, Japan, Thailand, Russia, Latvia, Hong Kong, Macao, Taiwan, and recently, in 2013, at the Lincoln Center for the Performing Arts in New York.“The Road”: Staging the Journey TodayWithin the contemporary context of global interdependencies, performing arts have been used as strategic devices for social mobilisation and as a means to represent and perform modern national histories and foreign policies (Davis, Rees, Tian, Tuohy, Wong, David Y. H. Wu). The Silk Road has been chosen as the basis for these state-sponsored, extravagantly produced, and internationally staged contemporary dance programs. In 2008, the welcoming ceremony and artistic presentation at the Olympic Games in Beijing featured twenty apsara dancers and a Dunhuang bihua yuewu dancer with long ribbons, whose body was suspended in mid-air on a rectangular LED extension held by hundreds of performers; on the giant LED screen was a depiction of the ancient Silk Road.In March 2013, Chinese president Xi Jinping introduced the initiatives “Silk Road Economic Belt” and “21st Century Maritime Silk Road” during his journeys abroad in Kazakhstan and Indonesia. These initiatives are now referred to as “One Belt, One Road.” The State Council lists in details the policies and implementation plans for this initiative on its official web page, www.gov.cn. In April 2013, the China Institute in New York launched a yearlong celebration, starting with "Dunhuang: Buddhist Art and the Gateway of the Silk Road" with a re-creation of one of the caves and a selection of artifacts from the site. In March 2015, the National Development and Reform Commission (NDRC), China’s top economic planning agency, released a new action plan outlining key details of the “One Belt, One Road” initiative. Xi Jinping has made the program a centrepiece of both his foreign and domestic economic policies. One of the central economic strategies is to promote cultural industry that could enhance trades along the Silk Road.Encouraged by the “One Belt, One Road” policies, in March 2016, The Silk Princess premiered in Xi’an and was staged at the National Centre for the Performing Arts in Beijing the following July. While Dunhuang, My Dreamland and Rain of Flowers along the Silk Road were inspired by the Buddhist art found in Dunhuang, The Silk Princess, based on a story about a princess bringing silk and silkworm-breeding skills to the western regions of China in the Tang Dynasty (618-907) has a different historical origin. The princess's story was portrayed in a woodblock from the Tang Dynasty discovered by Sir Marc Aurel Stein, a British archaeologist during his expedition to Xinjiang (now Xinjiang Uygur autonomous region) in the early 19th century, and in a temple mural discovered during a 2002 Chinese-Japanese expedition in the Dandanwulike region. Figure 5: Poster of The Silk PrincessIn January 2016, the Shannxi Provincial Song and Dance Troupe staged The Silk Road, a new theatrical dance-drama. Unlike Dunhuang, My Dreamland, the newly staged dance-drama “centers around the ‘road’ and the deepening relationship merchants and travellers developed with it as they traveled along its course,” said Director Yang Wei during an interview with the author. According to her, the show uses seven archetypes—a traveler, a guard, a messenger, and so on—to present the stories that took place along this historic route. Unbounded by specific space or time, each of these archetypes embodies the foreign-travel experience of a different group of individuals, in a manner that may well be related to the social actors of globalised culture and of transnationalism today. Figure 6: Poster of The Silk RoadConclusionAs seen in Rain of Flowers along the Silk Road and Dunhuang, My Dreamland, staging the processes of Silk Road journeys has become a way of connecting the Chinese imagination of “home” with the Chinese imagination of “abroad.” Staging a nation’s heritage abroad on contemporary stages invites a new imagination of homeland, borders, and transnationalism. Once aestheticised through staged performances, such as that of the Dunhuang bihua yuewu, the historical and topological landscape of Dunhuang becomes a performed narrative, embodying the national heritage.The staging of Silk Road journeys continues, and is being developed into various forms, from theatrical dance-drama to digital exhibitions such as the Smithsonian’s Pure Land: Inside the Mogao Grottes at Dunhuang (Stromberg) and the Getty’s Cave Temples of Dunhuang: Buddhist Art on China's Silk Road (Sivak and Hood). 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In the Reform Proposals for the Education in Hong Kong published in 2000, it was clearly stated that the priotity of education in the 21st century should be ―to enable our students to enjoy learning, enhance their effectiveness in communication and develop their creativity and sense of commitment‖. This paper aims to respond to two of the aspects — the enhancement of effectiveness in communication and the development of students’ creativity. For years, schools have focused on promoting students’ creavity in reading and writing, but not in speaking. In fact, among the various language skills, ‘speaking’ is the skill students have to demonstrate the most in their daily interaction. Compared to reading and writing, the ability to express one‘s views verbally in a creative manner can give rise to more direct interaction, acting as a genuine reflection of a student’s wisdom, knowledge, capability and potential. It is also a lifelong skill that students can apply when they join the workforce in the future. It is therefore meaningful to place emphasis on cultivating students’ creativity in speaking. This research aims to explore the correlation between the Chinese oral proficiency and creative ability of senior secondary students in Hong Kong based on existing theories on the development of creativity and speaking. Target participants, recruited from two aided secondary schools of different abilities, receive training on speaking and creative thinking, and analysis is done adopting both the quantitative and qualitative approaches. Students of each school are first randomly divided into two groups — the experimental group and control group. Students of both groups are required to take a pre-test and a post-test, as well as complete a set of questionnaire in each session. Results obtained are compared and contrasted to gauge the changes in their oral proficiency and creative ability. In between the tests, the experiemental group receives seven experimental design lectures on News and Report, one of the elective modules of the NSS curriculum in Chinese Language Education, while the control group receives lectures on News and Report which reference on the samples from Education Bureau only, no experimental design lectures will be delivered. In the end, the three teachers involved in the study were interviewed, during which the teachers offered their observations on the change in the students’ learning behaviour and attitude. Based on the data collected from the administration of tests, questionnaires and interviews, the following conclusions are made: first, there is a correlation between oral proficiency and creative ability; second, students’ attitude and values have a direct impact on the effectiveness of the module; third, the Speaking and Creativity Assessment rubric used in the study proved to be successful in assessing the said abilities, enhancing learning effectiveness. Through the analysis of data collected, this research contributed to Chinese Language Education to some extent, especially in the teaching of oral proficiency and creativity. It opened up a new set of criteria for the assessment of creative speaking ability from different perspectives to ensure objectivity of results, offered diversified course materials that can effectively raise the standard of students’ speaking and critical thinking ability. 香港在2000 年教育制度改革建議中明確指出教育首要目標是培養學生成為「樂於學習、善於溝通、勇於承擔、敢於創新」的新一代，其中，本研究特別回應「善於溝通」和「敢於創新」這兩個重點。過往，學校及教師多注重學生閱讀能力及寫作能力創意的培養，而忽略說話能力的創意訓練。其實，在各種語文能力中，「說話」是學生日常生活最主要的表達能力。口語表達比閱讀及寫作語言起著更直接的交流及溝通作用，是一個人智慧、知識、能力、素質的綜合體現，是學生立足社會、終生受用的語文能力。因此語文教學以創意思維培養學生的說話能力是有實在意義的。 為探索本港高中學生口語表達和創意能力的相互關係，本研究以創造力(Creativity) 和說話能力訓練的理論為依據，對上述課題展開試驗及分析工作。本計劃以香港兩所不同程度的津貼中學學生的說話能力為研究對象， 施行融合創意和說話能力訓練的實驗教學模式。本研究採用量化和質化方式為主要研究的方法。首先， 每所學校的研究對象隨機分為實驗組 (Experimental Group) 和控制組 (Control Group)。兩組對象分別安排前測和後測來量度實驗前後的數據變化。在前測及後測之間， 實驗組將會進行結合了創意思維訓練元素的中國語文選修單元「新聞與報道」共七節課的教學，從而探究這次實驗課能否提高學生創意說話能力學習的成效。而控制組卻不會在實驗教學施行期間安排進行任何實驗教學，有關的課堂教學，只按照原本學校的「新聞與報道」課程進行。在公平的原則下，所有控制組的學生會在暑假補回教授有關的實驗課程知識。本研究同時在兩班實驗組學生發出前後兩次的問卷調查，以檢視受試者的說話能力及創意能力的變化。最後，訪問兩所受試學校參與研究的三位老師，以深入瞭解學生整體的學習行為和態度情意的改變。 透過分析實驗教學資料、問卷調查數據和訪談結果，本研究主要有以下幾方面的總結：第一，確立說話能力和創意能力的相互關係。第二，學生的學習態度和品德情意直接影響課程的學習成效。第三，本研究所採用的「說話及創意能力評量表」能客觀評估學生的說話及創意能力，促進學習效能。經各種測試及結果分析，本研究對中國語文教育作出了一些貢獻，尤其是在融合說話與創意能力方面，以提高學生說話和思考水平；開發創意說話能力的評核標準，包含多角度的評審考量為評核精神，以客觀的等級描述為評量依據；提供多元化的創意說話課程設計，有助提升學生的創意說話能力表現等多方面的意義。
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