教師的專業認同一方面受到工具理性主導的教師專業主義的影響，將女性排除在教師專業主義之外，另方面，長期以來，教師即母親的概念不但剝削女性在教職服務中呈現的關懷本質，邊緣化女性教師，同時也以從屬地位納入女性。無論是教師即母親或是教師是理性的工作者，這兩種分據光譜兩方的教師專業認同，各以納入與排除女性的方式，清楚顯現教師專業實踐中充斥的性別次序。女性教師居於不利的性別一方，影響了他的專業認同，導致女性教師在教學中必須捍衛其被本質化了的「自我」。師資教育培養的理性教師，這種本質化教師「自我」的宰製，掩飾了多數女性教師居於性別二元化不利的一方的事實，並且將男性的認同概念強加在女性教師的個人與專業生活上。不僅如此，教育中呈現的性別階層化，忽視女性知的方式，邊緣化女性教師的經驗，都顯示教師專業認同的性別化現象。女性主義學者指出，當前的教育忽略師生互動與學習的情感面，女性教師重視的關懷與連結在教育的公共論述中常常被忽略。事實上，教育是人的事業，人與人的交會，主體之問相互建構的意義與關聯是重要的核心。男性主導的教育理念無論是納入或排除女性經驗，都貶抑女性觀點的價值。其實，理性的權威與關懷連結的教養在教育實踐裡不應該相互對立，應該發展辯證的關係，相互挹注。然而，當前教育專業所呈現的性別化，似乎阻礙這種辯證關係的建立。本文檢視性別與教師專業認同的關係，從女性主義的觀點，反思教師專業主義與教職女性符碼的性別意涵，及對教師認同的影響。從女性主義對性別政治，性別認同與性別規範的反思與批判中，提出以差異，能動與互為主體的面向，重新思考當前教師專業認同。將性別置於教育與教師生活的核心，是關心師資養成與教育改革的學者與實務工作者必要重視的課題。

This paper examines the interpretation of space in terms of its visual aspects by looking at the connection between physical and psychological space in reference to the represented space in a painting. The artistic representation of space in a painting is actually a simulation of physical space, which endeavors to present a virtual three-dimensional space both visually and psychologically. The above theory will be supported by a comparison of related western art theories dealing with the representation of space. This paper provides guidelines for discussion as related to the following three issues dealing with representation of space in traditional Chinese paintings: 1.The representation of three-dimensional objects and its relation to space 2.The representation of perspective and depth in a painting 3.The historical development and dialectics of traditional Chinese art theory of "three distances" In traditional Chinese creative theories, the representation of three-dimensional objects relies on the observation of convexity and concavity, yin and yang, which is transferred into the highlighting and shadowing of strokes and the thinness (bright) and thickness (dark) of ink. In traditional Chinese art theories applied to paintings, observations of critics through history on the management of spatial depth include: •Viewing distance and width of viewing angle determine the size of the landscape. • Managing positions and locations • In order to have spatial depth, the objects in a painting must show contrast in terms of closeness and farness, details and brevity, clarity and obscurity. • The size of the people in a painting is the criterion for the proportion of trees, rocks and houses. • The thinness and thickness in the use of ink indicate closeness and fatness respectively. • Spatial depth is constructed by the interplay of frontal and back light sources, the use of light and dark ink, quantity of strokes, etc. The setting of eye level, angle, distance and range is generally known as framing. Framing determines both the viewing angle and distance. In Western painting this is also know as projection. This technique projects an image on a two-dimensional canvas according to the proportion of the object's size and distance. However, traditional Chinese paintings generally adopt the 45 to 60 degree bird 's-eye angle as the basic framing device with the bottom foreground remaining unchanged while adjusting the upper part of the painting to a wider angle to take in objects from three angles, eye level, inclining, and bird's-eye view. Therefore, the three distances of horizon, depth, and height can all be incorporated into one frame. This technique of framing can be called "angle-shifting" or "multi-angle" method.