论转型期中国大众文艺中的知识分子形象

20世纪90年代以来,中国社会进入全面转型期。在精神领域,大众文艺的发展不断地消解社会的精英文化情结,这导致了知识分子话语的失落和知识分子角色的边缘化,甚至使知识精英成为市场经济时代的"多余人"。1990年代以来大众文艺中的知识分子形象大都以世俗化、平民化的面目出现,其生活方式、行为方式、情感趣味、思想趣味日趋向大众看齐,曾经以"化大众"为己任的知识分子精英成为生活中的孤独者或沉沦者。世纪转型期大众文艺中的知识分子形象已处于深刻的危机之中,他们精神上营养不良,人格萎缩困顿,趣味世俗粗劣,已然丧失了对个人、人类和世界的存在意义的把握,知识精英群体集体陷入沉默状态。这在一定程度上折射出当下现实境遇中知识分子角色的尴尬处境。这种状况值得我们深入关注。     

技术语境下的艺术

每一次根本性技术的发明都会改变人类的思维方式和价值体系。艺术变革也具有这种性质，现代艺术以强烈的革命态度表示出与传统价值观的决裂。艺术阐释的重心也从艺术创作和美学转向生产和消费领域。在这种情况下，法兰克福学派关于技术异化的批判，仍然具有警示作用；而艺术作为人类情感的一种表现形式、作为人文关怀的一种方式，在新时代的生态语境中，应该重新获取这些崇高意义。艺术变化与技术发展有直接的联系，除此之外，还与政治、经济、意识形态、精神、观念、艺术家等有着直接或间接的联系。综合考察这些因素，才能够探明艺术变革的真正原因。但未来发展情形仍然不明了，需要科学家和伦理学家共同努力。科技“由谁来控制”和“如何控制”是解决问题的核心所在。     

Fighting words? Joning as conflict talk and identity performance among African American preadolescents

This study examines how preadolescent African American students in Washington, D.C., used a linguistic practice called ‘joning,’ a style of verbal play similar to ritual insults, in peer interactions. Sociolinguists have focused on how children socialize each other into vernacular styles appropriate for peer group use but often assume that they disalign with social and linguistic norms for classroom behavior. Drawing from a nine‐month ethnographic study that the author conducted in an after‐school program, this article analyzes the structure and function of joning as a vernacular style of African American Vernacular English and its uses in constructing classroom identities. Joning often facilitated student learning, but it was perceived as a socially and physically risky linguistic practice because of its uses as conflict talk in the local community. Focusing on preadolescence as a key stage of language socialization, this article shows how minority students modify peer‐learned linguistic practices to pursue academic success on their own terms.     

China’s modern image – contemporary Chinese art

Abstract

As a worldwide cultural phenomenon, contemporary art in China has not only been used as a diplomatic language but also a reflection of contemporary Chinese culture. Contemporary Chinese art, as an emerging field to display China’s global role, provides an important perspective to study China’s self-position in global relations, China’s diplomacy in exercising its soft power, contemporary Chinese culture, and the reinvention of China’s cultural/national identity in post-Mao China. Using the 2000 Shanghai Biennale and the Chinese pavilion at the 54th Venice Biennale as case studies, this article investigates how the fluid construct of Chineseness is successfully promoted and demonstrated through the government’s support of contemporary Chinese art.     

西方文化和文论中的Image——从比较文化和比较文论的角度看Image(形象/意象/图像)(之一)

Image(形象/图像/意象)是全球化时代文化对话和美学对话中的一个重要主题.从比较文化的角度来看,其在西方主要与三个方面相关:由主客互动而来的影像,主体心理运行的意象,由主体外化而成的艺术形象.这三个方面为image在中国的三种不同译法奠定了基础.     

格萨尔藏戏传承实践及文化表征

格萨尔藏戏将口头诗歌中的“歌”化为具体的表演行为动态实践，集声音、舞蹈、仪式和群体互动等多种形式于一体，是历史悠久、别具特色的藏戏剧种。格萨尔藏戏表演通过对古典时代民族民间文化的重构与想象，构成格萨尔史诗更丰富宽广的表达。作为文化象征的表述符号，格萨尔藏戏是口头传统研究中的表演民族志，其歌舞形态为本的言说系统，更贴近格萨尔史诗说唱本体，并重新廓清格萨尔史诗口传与书写之间复杂的关联，还口头说唱以本原。格萨尔史诗戏剧化表演实践与创新中的复合性、融合性、新生性特征和带有实验性的探索，使格萨尔藏戏经历新的蜕变。     

Can art-based reflection help us cope with organisational change in the public sector?

Never before have public sector jobs been so threatened. Fear and anxiety have shifted their focus, from performance to survival. With reference to immediately contemporary works on the NHS in particular, such as Mandelstam (2011) and Leys and Player (2011), the paper establishes the factual validity of the crisis.

The authors conducted a series of workshops for public sector staff to enable them to explore their reactions to the current situation.

It is possible to identify increasing levels of denial and other forms of resistance to change similar to those first identified by Menzies' (1959). Drawing on the work of Bion (cited Obholzer & Roberts, 1994) the paper considers the dangers of a retreat to the paranoid schizoid position, and identifies a theoretical clue in Halton (2004) for turning the trauma of change into a creative opportunity.

Art has access to emotional, spiritual and creative facets of the human mind that science cannot explore. Klein's (1975) consideration of the infantile and regressive aspect of art is acknowledged. The paper then considers what is revealed by a study of specific works of art which were presented in the workshops; including paintings by Bosch, Rousseau, Breughel and Goya. The work of Zagier-Roberts (1998) and Winnicott (1971) is called upon to endorse the usefulness of such a playful collage of responses.

Art can be used to help people move through Kubler Ross' stages of bereavement (1997); not to acceptance but out of the paranoid schizoid position into the depressive position (Klein 1975). Revisiting the work of Halton (2004) and the concept of evolutionary creativity, a move on from the depressive position can begin. Collective validation can be affirmed through a rebooting of the essential public sector values while a radical turning away from organisational priorities, to face the service user, provides a more far reaching optimism than any envisaged by an essentially limited demand for modernisation.

In conclusion the paper considers the recent contributions of Dienst (2011) and Dumenil and Levy (2011) to advocate tactical resistance to the denigration of the public sphere.     

论艺术史的影视形状

艺术史纪录片开启了学术界与大众之间的知性之窗和审美之窗。优秀的艺术史纪录片是触及艺术本质的,是可以引发人对艺术与人生进行深刻思考的,并非只是赏心悦目的,光鲜亮丽的,甚至冠冕堂皇的。一个好的艺术史纪录片不论从立意、拍摄还是主持,都应该是率性的,是发自本真的情感流露。     

Complexity: Some Remarks about a Classical Aesthetic Concept

The connection between autonomous art and complexity has been extensively and deeply studied in literary theories in the 20th century. The rise of aesthetic autonomy implies the complexity of literary work as the concept of a sealed container arises from the relationship between the parts that make it up. In this model, the interpretation subject works to directly face literary texts. Instead of pursuing the author’s intention, it aims to reproduce the richness and subtlety of the aesthetic state, and consider the richness and subtlety revealed in the maximum amount of text details in literary works, even if procedurally deviating from the way of mainstream understanding. There is increasing skepticism about the consequences of the autonomous aesthetics, which has been coerced by the development of contemporary capitalism, and it is necessary to develop new forms of aesthetics to reflect the changing social situation.     

地域文化在环境艺术设计中的应用与传承

为了更好地实现在环境艺术设计中传承地域文化，了解两者的基本定义是基础。从地域文化与环境艺术的概念出发，就地域文化对环境艺术表现与缺失进行深入分析，同时通过探析地域文化对环境艺术设计的现实意义，对环境设计中地域文化的应用与传承进行研究。