论新世纪武侠电影视觉中心的美学取向

新世纪武侠电影注重影像造型，更多挖掘电影的视听元素，充分调动色彩和道具的作用，选取极度唯美的场景，运用数字化特技设计的武打场面，表现了视觉中心的关学取向。客观上说，这对于吸引观众对武侠片的热情起到了一定的积极作用。但以视觉快感为导向的创作倾向，也在某种程度上导致了有些电影的晦涩难解，影响武侠电影中侠文化的弘扬，从而导致人文关怀和人文精神的匮乏。     

学校本位教学视导模式的实证研究——以兰州市E中学为例

本研究目的在于通过对兰州市E中学施行的学校本位教学视导模式的深入观察,全方位了解学校本位教学视导模式的具体运作方式。以兰州市一所薄弱学校为研究场域,通过课堂观察的方式,全面了解学校为提高办学质量所开展的“学案分组教学法”,及进行学校本位化视导模式的具体运作状态。在兰州市E中学开展学校本位教学视导模式的过程中,学校校长与某大学教育学院课程与教学领域的教授专家参与视导过程。主要采取校长主导,专家参与的合作视导方式,对兰州市E中学初中二年级屈老师数学课进行为期一周的教学观察与记录。实施以学校为本位的合作视导方式,目的在于发现兰州市E中学进行“学案分组教学法”中的具体教学问题,通过大学与中学的合作,开展学校本位视导模式,有效促进教师的专业发展与增强教学有效性,提高学校办学质量。     

Bayesian estimation of the efficient frontier

In this paper, we consider the estimation of the three determining parameters of the efficient frontier, the expected return, and the variance of the global minimum variance portfolio and the slope parameter, from a Bayesian perspective. Their posterior distribution is derived by assigning the diffuse and the conjugate priors to the mean vector and the covariance matrix of the asset returns and is presented in terms of a stochastic representation. Furthermore, Bayesian estimates together with the standard uncertainties for all three parameters are provided, and their asymptotic distributions are established. All obtained findings are applied to real data, consisting of the returns on assets included into the S&P 500. The empirical properties of the efficient frontier are then examined in detail.     

提炼嘉兴主题文化彰显禾城特色魅力——嘉兴城市主题文化建设构想

为了彰显嘉兴城市的特色魅力,必须提炼嘉兴主题文化。基于嘉兴城市文化的基本特点和嘉兴城市的独特元素,根据城市主题文化提炼的5个原则,嘉兴城市主题文化可以提炼为"棹歌会府,粽子都会",并可从三个方面来构建:一是"以‘棹歌升处,粽香天下’进行城市宣传,推介嘉兴历史文化名城的新形象";二是"以‘棹歌’、‘粽子’进行文化创意,打造嘉兴文化创意产业的新起点";三是"以‘棹歌’、‘粽子’进行视觉形象塑造,构筑嘉兴城市生活的新环境"。     

闻一多书籍装帧封面的视觉要素分析

闻一多是现代一位出色的装帧家,装帧作品虽然不多,但精品不少,尤以封面设计作品较为突出。闻一多的书籍封面设计,在视觉要素运用上,文字新颖多变,图形表现兼容并蓄,色彩运用简洁鲜明,为我国现代书籍装帧艺术的发展做出了贡献。     

美的静悟——视觉冲击力与经典工笔画辨析

经典的绘画作品感染并打动观众，是通过视觉这一感官体验来完成的。因此，在今天展览越来越多、展厅越来越大的情况下，有一些人从简单的视觉体验出发，使“视觉冲击力”这一曾经只运用于设计领域的词汇，在绘画中泛滥，进而波及工笔画领域。文章根据中国传统工笔画的品评标准，结合现代工笔画的绘画创作实践，分析视觉冲击力与经典的工笔画之间的矛盾与联系：经典的工笔画具有一定的视觉冲击，但是具有“视觉冲击力”的工笔画不一定就是经典的画作，真正的经典作品必须具有崇高的审美本质，在经过岁月的检验后，才能焕发出像珍珠一样夺目的光彩。     

Spaces of Pride: A Visual Ethnography of Gay Pride Parades in Italy and the United Kingdom

Gay pride parades represent an active site of production of lesbian, gay, bisexual, transgender (LGBT), intersexual and queer identities, featuring a spatial and social articulation of political and human rights claims. While the multiplication of these events in different countries suggests the existence of a coherent and cohesive community which shares the same collective identity beyond national borders, different patterns in the organisation, part-taking and social and political connotations given to these events can be observed in different contexts. By means of a comparative visual ethnography of Italian and British Gay Pride Parades, this article investigates how the creation, mobilisation and challenge of quasi-normative LGBT identities occur within the spatial context of gay pride marches. It is argued, in particular, that while gay pride parades are sites in which the socio-political status quo can be successfully challenged, participants are also faced with the possibility of falling prey to dynamics of identity commodification and homonationalism which may ultimately deprive their claims of their subversive potential.     

Whitewashing the nation: racist jokes and the construction of the African ‘other’ in Greek popular cinema

This article explores representations of race in three Greek popular films of the 1970s and 1980s. The portrayal of African characters in these films is antagonistically positioned in relation to the dominant, ‘whitewashed’ Greek national narrative which relies on the nineteenth century idea that Greece is the progenitor of European civilization. Often masquerading itself as ‘just a joke’, the discourse of these films narrates the African Other as lacking in terms of culture, intelligence and beauty – the three central categories upon which the idea of the ‘white supremacy’, according to Cornell West, is historically constructed in modernity. Tightly woven with this idea (largely introduced in Greece by the leading European powers), these films enunciate explicitly colonial viewpoints in a country that was neither a colonial power nor at the geopolitical center of the European project. The article argues that the racialized representations of these films are an effect of appropriating the Eurocentric idea of historicism, where the ‘progress’ and ‘backwardness’ of groups and nations are measured according to how effectively they perform the values of modernity.     

‘It’s better if someone can see me for who I am’: stories of (in)visibility for students with a visual impairment within South African Universities

Issues of visibility, invisibility and the non-disabled gaze are very relevant to the lives of many disabled persons. With this article we tentatively show that, despite the physical ‘over’-visibility of disabled bodies, many intricate parts of their personhood remain obscured and invisible. Interviews with 23 students with a visual impairment revealed that they sometimes experienced stares and averted gazes from their sighted counterparts. In response, they often hid their entire impairment, or parts thereof, in an effort to conform and gain acceptance and to earn membership to a non-disabled peer group. Acceptance was often found in companionship with fellow disabled peers. Since these stories told of continuing exclusion for disabled students on tertiary grounds, further participatory research is recommended.     

Observational sketching as method

This paper explores the potential of observational sketching as a social science research tool, informed by our own recent experiments with observational sketching techniques and approaches. We first outline the historical roots of academic sketching and note a recent resurgence of interest in sketching in certain disciplines. We then introduce our own explorations in sketching as method, based on a year-long collaboration between an observational artist and a group of qualitative researchers with interests in creative methods. The paper outlines some of the lessons we learnt from our partnership, focusing on three themes: (i) ‘sketchiness’; (ii) ‘concentrated seeing’ and (iii) sketching as interaction. We conclude that observational sketching generates a refreshingly different form of visual data which has considerable potential to be used as a complement to other methods, including as a participatory method and as a useful tool for thinking.