学前教育高质量发展中“现代中国儿童”的培育困境与出路

学前教育事业作为当前我国教育高质量发展战略中的基础环节,尚面临诸多困境和挑战,此中突出表现为儿童观的多元分化、幼儿园课程的花样繁多、幼儿园教师的素养参差不齐等主要问题。为切实提升学前教育治理水平,学前教育高质量发展应立足当今世界变革的现实挑战,扎根中华文教传统，致力于富有精气神的“现代中国儿童”培育。     

水之喻与中国文学批评

中国文学批评史上，存在一种“以水喻文”的批评范式。古代先哲在对水的自然特性的观审中，产生了各种微妙的审美体验和联想，铸就了东方文论独特而丰富的内涵。主要包括三个方面内容：第一，先贤对水之“清”的感悟，逐渐形成古典文论中的“清”“清浊”等系列范畴。大量与水相关的词语如“源”“流”“深”“浅”“渊”“浮”“润”“溢”“淡”“游”“清淡”“清秀”“清疏”“清逸”“清华”等也进入文学批评领域，这从一个侧面证明“水”与古代文学批评的密切关系。第二，水之“源流”启发了文学流派批评，古人一方面以“流派”为喻，阐释学术门类、文学风格的不同；另一方面则寻源溯流，阐释文学发展中的传承与创新关系。第三，“水无常形”催生了“文无常法”的文论观。宋代苏洵、苏轼父子或以“水机”喻“文心”，或以“风水相激”喻指创作中的“情文相激”，或以水之“随物赋形”喻指“自然成文”。“吾文如万斛泉源，不择地皆可出，在平地滔滔汩汩，虽一日千里无难；及其与山石曲折，随物赋形而不可知也。所可知者，常行于所当行，常止于不可不止。”（苏轼《文说》）已经将“以水喻文”阐释得淋漓尽致了。总之，“以水喻文”折射的是基于中国本土的、活生生的审美经验和诗性智慧。此种批评范式的产生既受到中国象喻批评传统、汉字表征效应的影响，又与历代对“以水喻文”批评的阐释和接受相关。深入发掘中国文学批评的“水之喻”，对于古典文论的创造性转化、创新性发展都极具借鉴意义。     

多元文化融合视域下少数民族音乐发展研究

作为中国民族文化的重要组成部分，少数民族音乐在不断融合与碰撞中形成了多样性的民族特征、个性化的族性特征、开放的文化涵化特征。多元文化融合发展视域下，少数民族音乐面临新的挑战，同时在传承形式、创作素材更丰富等方面出现了新机遇，应通过完善传承方式、立足多元文化融合发展理念、适应文化生态转型强化市场效能、铸牢中华民族共同体意识等路径谋求新的发展。     

河北涉县女娲祭典的文化研究

河北涉县女娲祭典已入选国家首批非物质文化遗产保护名录，一方面体现了女娲祭典在我国民间信仰文化中的重要地位，另一方面也说明其文化现状亟待保护与传承。在京津冀文化协同发展的时代背景下，对涉县女娲祭典这一非物质文化遗产的保护与传承应当坚持社会政治、经济环境与文化环境的协调发展，提供以女娲祭典为文化平台的京津冀文化协同发展的可持续性，对民间信仰文化的保护传承提出合理化的对策建议。     

列宁对马克思意识形态思想的继承与发展

在马克思主义意识形态俄国化过程中,列宁继承和发展了马克思意识形态思想.在意识形态概念上,列宁将意识形态概念中性化,提出了"科学意识形态"的范畴,将社会主义意识形态与剥削阶级意识形态区别开来,突出了不同社会制度下的意识形态存在着本质性的区别.在列宁看来,意识形态作为一种阶级意识,是一定阶级利益和意志的集中体现,具有鲜明的阶级性和党性,哲学上的党派斗争实质就是意识形态之间的斗争.在意识形态的功能和作用上,意识形态是为阶级统治和阶级利益服务的工具,无产阶级要取得革命的胜利,必须要有正确的阶级立场,巩固和加强马克思主义意识形态领导权至关重要.     

北川传统羌族萨朗舞调查研究

北川传统羌族萨朗舞是北川羌族自治县最有代表性的羌文化遗存.其舞歌以羌语演唱的古老民歌为主,其舞蹈动作与生产劳动和日常生活紧密联系,并以"顺手顺脚"为基本舞蹈形态,舞姿独特,简约舒畅,节奏感强,是羌民传统文化生活的重要内容,也是目前北川人民进行文化交流的重要载体.笔者通过对北川民间艺人的走访,并比对一些宝贵的资料,对北川传统羌族萨朗舞的舞蹈及音乐特点进行了分析,以便使文化生活日益丰富的北川人,能够不忘初衷,守住根基,将传统的萨朗舞进行生态、有序的传承和发展.     

道教神像画艺术的衍生开发研究

道教神像画作为一种特殊的道教绘画形式，常用作于水陆道场的仪式。其神像绘画既有工笔细腻之气，又有世俗婉约之美，是道教神仙信仰发展至今的承载者与见证者。时代语境在改变，道教神像画为顺应当下文化创新的大环境，从艺术衍生发展的形式重回现代人的生活。以道教神像画的艺术衍生为研究对象，论述了道教神像画艺术衍生发展的现状、问题与市场空间，以期探寻道教神像画艺术衍生开发的创新发展之路。     

虚拟财产继承立法构想

互联网时代孕育而生的虚拟财产为社会生活带来了新的广袤财富,也同时拷问着变革中的继承法律制度.通过对其可被继承性、请求权基础、继承效果和意义的分析能得出虚拟财产继承的一般理论基础.虚拟财产类型广泛,性质特殊.可继承虚拟财产包括网络账号、网络物品、网络货币、网络电子信息、其他网络财产等五类.类型化的构建能为虚拟财产继承划定准确的范畴,为法律规范奠定基础.继而,根据权能、隐私权、契约等因素进一步对可继承虚拟财产予以限缩,构筑虚拟财产继承的立法规范.最终,通过所有权继承和使用权继承两个路径实现虚拟财产继承法律制度的构建.     

转型与延续：建国初期的节日休闲

摘要：建国初期，我国节日休闲呈现突出的时代特征。中央政府在新中国伊始即颁布节日的休假方法，制度上保障了我国居民 在节日进行休闲的权利。同时对不符合社会建设的节日闲暇活动进行改造，并结合时代背景将政治元素与集体特性融合到节 日休闲当中。五十年代对待传统节日休闲的态度较为理性，节日休闲文化和节日休闲活动得到较好的延续与传承。建国初期 节日休闲转型与延续的经验，对如今节日休闲的引导与发展有着重要的理论意义和现实意义     

台湾排湾族头饰特征及文化内涵

Among Taiwan’s aboriginal tribes, the Paiwan has the most exquisite decorative adorn￣ments on their costumes. In addition to the decora￣tions of their clothing, they also give importance to the decorations on their headdress. Every group designs different headdresses according to social status— this also reflects the cultural identity of the group. The headdress is an external marker of ethnic culture, the carrier of ethnic customs and aesthetic consciousness, and it helps to transmit and promote traditional culture.
The Paiwan people have various forms and shapes of headdresses which are designed freely according to the designer’s artistic inspiration. However , the snake form can only be used by trib￣al leaders. The headdresses are mainly made from natural materials, such as eagle feathers, animal hides, animal teeth, horns, flowers, grasses, seeds, colored glazed beads, shells, ceramics, metal, etc. However, eagle feathers, animal hides, animal teeth, horns, and colored, glazed beads can only be used by leaders and nobles;common people are strictly forbidden to use these materials.
The social organization of the Paiwan and their festivals and sacrificial ceremonies determine their various headdresses. The headdresses and head bands of the Paiwan are made mainly from black or red flannel; the shape and the use of the materials reflect hierarchical differences. Head￣dresses can be divided into those of leaders, no￣bles, warriors and commoners.
The form of the Paiwan people’s headdress consists of strong layering;each is decorated with a variety of materials, creating a three-dimensional effect. The decoration of a moulded cottonmouth snake on the head band reflects the people’s snake worship, and also the group’s aesthetic conscious￣ness and worship of ancestors.
The decorative expertise and complex working process reflect the Paiwan people’s superb skills in weaving. The materials used for the headdresses of Paiwan people are mostly derived from nature, and strongly reflect regional characteristics.
Totem worship is characteristic of Paiwan reli￣gion, and it is a form which combines the worship of nature and ancestors. The forms of animals re￣flect the psychology of Paiwan people’ s original worship in which they depended on getting along with nature, and in which they placed their hopes in Totem worship.
The Paiwan have many myths, which is one of the characteristics of their culture. The forms of the sun and cottonmouth snake, which decorate the headdresses of the leaders, reflect that the sun is the creation of life. Chamilia beads are regarded as a class symbol by the Paiwan people, and have a protective function.
The first child of a Paiwan family, no matter whether it is a boy or girl, has the right to inherit property of his/her paternal or maternal home. One should also notice that the colors, materials, and forms of the headdress of Paiwan man and woman in the same class are the same.
In summary, the shapes and forms of the Paiwan people’s headdresses vary. They reflect the Paiwan people’s unique aesthetic consciousness, and embody the Paiwan people’s excellent tech￣niques in traditional decorative handwork. The use of colors represents the Paiwan’s optimistic attitude towards life. Materials are derived from nature, which reflects the group’s harmonious relationship with the nature. Headdresses are not only an exter￣nal form of decoration, but they also have profound cultural connotation and national consciousness. The class system, taking nature as beauty, worshi￣ping ancestors, their myths, and the equality be￣tween men and women reflected in the headdresses of the Paiwan people indicate the Paiwan people’s inheritance of tradition, natural worship and pur￣suits in life. The study of the artistic features and cultural connotation of the headdress of the Paiwan people can help to protect Paiwan traditional adornment technique, and enrich the requirement of diversity in headdress design.