In his influential essay, “Resonance and Wonder”, Stephen Greenblatt (1991) points to two powerful forms of emotional response inspired by objects in museum exhibits: When objects reach into a vast network of relationships, evoking through their physical presence the historical circumstances that created and transported them through time, their viewers experience resonance. When objects are arresting, capturing attention and awe with their unique and captivating qualities, their viewers experience wonder. Resonance makes the museum visitor wonder at the object’s context, to consider the bodies that touched it, the people who valued it, the desire that transferred it from maker to user to curator, or others. Wonder makes the visitor feel the object resonate within, to revel in the experience of not knowing while yearning for the intimacy of knowledge. Each through its own means, resonance, and wonder acquire their influence by inspiring attachments, a craving for greater connection between the viewer and the object. Although not always discussed in these terms, these emotional responses also explain the pedagogical capacities of object-based learning (OBL) in museums. Applying theories of experiential learning, this practice connects collections and classrooms, providing students with upclose, hands-on, physical interactions with individual objects. Advocates of OBL recommend such use of museum collections as a means of imparting new or complex concepts because of the ways students become personally engaged, and so better inspired to learn. Objects arouse students’ curiosity, evoke memories and associations, and motivate them to ask questions and seek answers, thereby deepening their processes of learning (Efthim 2006; Meecham 2015; Willcocks 2015). Expressed differently, bringing objects into classrooms brings feeling of resonance and wonder there, too, fashioning personal experiences that transform the experience of learning. Notably, this is not the only work of object-based learning. As its practitioners describe, the act of decoding an object can help students to develop transferable skills such as critical thinking and communication; in turn, this can push them toward greater understandings of their own assumptions and beliefs (Paris 2002). The need for and impact of OBL thus takes on

中文翻译：

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基于对象的学习，或从人类学博物馆的对象中学习

斯蒂芬·格林布拉特 (Stephen Greenblatt) (1991) 在其颇具影响力的文章“共鸣与奇迹”中指出了两种受博物馆展品启发的强大情感反应形式：当物品进入一个庞大的关系网络时，通过它们的物理存在唤起历史环境通过时间创造和运输它们，它们的观众体验到共鸣。当物体以其独特和迷人的品质引人注目、吸引注意力和敬畏时，他们的观众会体验到惊奇。共振让博物馆参观者对物品的背景产生好奇，考虑接触它的身体，重视它的人，将它从制造商转移到用户再到策展人或其他人的愿望。奇迹让参观者感觉到物体在其中产生共鸣，陶醉于不知道的体验，同时又渴望知识的亲密。每个人都通过自己的方式、共鸣和奇迹，通过激发依恋，渴望在观众和物体之间建立更大的联系来获得影响。尽管并不总是以这些术语进行讨论，但这些情绪反应也解释了博物馆中基于对象的学习 (OBL) 的教学能力。应用体验式学习理论，这种做法将收藏品和教室联系起来，为学生提供与单个物体的近距离、动手、物理互动。OBL 的倡导者建议使用博物馆藏品作为传授新的或复杂的概念的一种手段，因为学生可以通过这种方式个人参与，从而更好地激发学习的兴趣。物体激发学生的好奇心，唤起记忆和联想，并激励他们提出问题并寻求答案，从而深化他们的学习过程（Efthim 2006；Meecham 2015；Willcocks 2015）。用不同的方式表达，将物品带入教室也会在那里带来共鸣和惊奇的感觉，塑造改变学习体验的个人体验。值得注意的是，这并不是基于对象的学习的唯一工作。正如它的从业者所描述的那样，解码一个物体的行为可以帮助学生发展可转移的技能，如批判性思维和沟通；反过来，这可以促使他们更好地理解自己的假设和信念（Paris 2002）。因此，OBL 的需求和影响 用不同的方式表达，将物品带入教室也会在那里带来共鸣和惊奇的感觉，塑造改变学习体验的个人体验。值得注意的是，这并不是基于对象的学习的唯一工作。正如它的从业者所描述的那样，解码一个物体的行为可以帮助学生发展可转移的技能，如批判性思维和沟通；反过来，这可以促使他们更好地理解自己的假设和信念（Paris 2002）。因此，OBL 的需求和影响 用不同的方式表达，将物品带入教室也会在那里带来共鸣和惊奇的感觉，塑造改变学习体验的个人体验。值得注意的是，这并不是基于对象的学习的唯一工作。正如它的从业者所描述的那样，解码一个物体的行为可以帮助学生发展可转移的技能，如批判性思维和沟通；反过来，这可以促使他们更好地理解自己的假设和信念（Paris 2002）。因此，OBL 的需求和影响 解码对象的行为可以帮助学生发展可转移的技能，例如批判性思维和沟通；反过来，这可以促使他们更好地理解自己的假设和信念（Paris 2002）。因此，OBL 的需求和影响 解码对象的行为可以帮助学生发展可转移的技能，例如批判性思维和沟通；反过来，这可以促使他们更好地理解自己的假设和信念（Paris 2002）。因此，OBL 的需求和影响