论移情作用在当今社会的重要性

文章以电影《兰陵王》的舞蹈产生背景为论据,进而对《兰陵王入阵乐》的舞蹈进行溯源,借以论述《兰陵王入阵乐》所具有的与原始乐舞不可分割的集中特点。影片以"面具"为焦点将一个遥远的传说变化和发展。既迎合了现代人的电影审美情趣,又夸张地刻画了兰陵王传说的精髓"面具"。     

地方性知识与新知识:传统藏戏现代转型的研究

对传统藏戏现代转型的已有研究多将其置于非遗保护、文旅融合等视域之下,探讨其传承与发展的意义与措施。本文在田野调查基础上,尝试从新的视角,即从藏戏人的知识结构梳理总结传统藏戏现代转型的成功经验,提出新时代藏戏人应同时具备地方性知识和新知识,传统藏戏的现代转型在很大程度上就是获得了新知识同时又利用了民族文化资源的藏戏人促使传统藏戏产生了新的结构,具备了新的功能。这种分析方法有助于我们以更积极的眼光看待藏戏的文化变迁,关注藏戏人怎么自发地通过组成“蜂窝”的方式,能动地去发展,而不是把它看作弱者,一直需要受到保护。只有这样,才能有效推动传统藏戏在新的历史时期的传承与发展。     

Being Han in a multi-ethnic region of the People’s Republic of China

This article draws on ethnographic material collected in Yangzong county of Yunnan, a province well known for its ethnic diversity. It deals with how the members of this peripheral Han population are categorised by others and by themselves in relation to minority groups and notions of Chinese identity. The specificity of the Han of Yangzong is framed by an ongoing tension between two contrasting points of view: they appear both as a local ethnic minority among others, and, notably by means of ritualised theatrical representations, as the legitimate representatives of the national majority. The Han people of Yunnan, who represent two-thirds of the province’s population, have been largely ignored by contemporary research. However, this study sheds light on the necessary interplay of different levels of identity and asserts the understanding of the category of ‘Han’ as perceived by the Chinese State as well as by the local people.     

明清时期戏曲对舞蹈发展的影响

明清时期由于社会的原因,传统舞蹈的发展呈衰落之势,但戏曲的兴盛,对舞蹈艺术的发展产生了积极的影响,戏曲舞蹈的产生是这种影响的最直接而且是最重要的产物.戏曲舞蹈对后世舞蹈发展的影响是极其深远的.     

道德零落的官员形象——近十年小说官员形象分析

社会的道德堕落导致了官场道德堕落,从而导致了官场的腐败。要根治官场腐败,必须从权力操作的法治化和权力意识的道德化开始。官场政治道德话语的规范化有赖于社会道德话语的形成,道德规范是权力操作的高级范式。     

新时期话剧与戏曲革新探索述论

新时期戏剧的题材思想是多元多层的,其基本的线索和演绎过程是由浅入深,从表及里,由道德、历史的层面逐渐走向人文理性向审美的层面推进,重视人之为人与人的心灵表现。这尤其体现在话剧和戏曲领域