"儿童":鲁迅文学的艺术方法

鲁迅文学的世界是丰富而复杂的,儿童、童年当然只是其中的一个表现维度,但是,它却弥足珍贵。在艺术上,儿童(童年)不仅是鲁迅文学描写、表现的对象,而且更是鲁迅文学的一种方法。在鲁迅的作品中,童年成为作品的结构和立意的支撑;儿童成为小说重要的叙述视角;儿童成为塑造人物性格的一个重要元素。如果没有儿童、童年这一维度的存在,鲁迅文学的思想和艺术都会贬值,鲁迅文学的现代性也将不能达到现有的高度。     

文化产业传播社会核心价值体系的重要作用

建立社会核心价值体系是以一定的社会共识为基础的，社会核心价值体系主导地位的确立和巩固过程实际上也是社会共识的形成、巩固和扩散的过程。在社会共识的形成过程中，个体传播、群体传播、组织传播和大众媒介构成了传播核心价值体系的主要途径。在当代，文化产业对社会核心价值体系建设产生着不可替代的重大影响，具有核心价值体系的构建、导向、扩散、创新、整合等重要作用。     

The review of new evidence 5 years later: SAMHSA's National Registry of Evidence-based Programs and Practices (NREPP)

The Substance Abuse and Mental Health Services Administration (SAMHSA) decided that NREPP should offer a second review option for interventions that have already been reviewed and included in the registry for 5 years. Principals from 135 such interventions were invited to participate in a second review, and an exploratory study of the Principals’ responses to this invitation was conducted. The study used a mixed-method approach, quantitatively describing characteristics of Principals and their interventions and qualitatively summarizing feedback from phone interviews with a convenience sample of Principals participating in a second review. Of the Principals invited, 21% accepted a second review, 24% were interested but unable or not ready to submit materials, and 56% did not accept or did not respond. Mental health treatment interventions were more likely to undergo a second review, and substance abuse treatment interventions were less likely. Similar percentages of interventions undergoing a second review had received funding from the National Institutes of Health (86%) and had been evaluated in a comparative effectiveness research study (79%). Overall ratings for interventions improved in each second review completed. The interviewed Principals perceived potentially lower ratings as the only risk in participating in a second review.     

音乐剧独唱唱段的研究思考--以《悲惨世界》中的经典唱段 Bring Him Home 为例

对兼具艺术性和流行性的音乐剧经典唱段做艺术的分析和歌唱实践的探索，将有利于音乐剧的研习者从全剧唱段分布以及唱段歌唱实践这些新的视角去学习、创作和表演。以《悲惨世界》中的经典唱段 Bring Him Home 为例，对音乐剧唱段中的主要表现手段进行了相关研究和思考。     

鲁迅与现代中国的木刻运动

鲁迅的思想精神不仅见诸于文字,同时也见诸于图画。1930年代,鲁迅对现代中国的木刻运动曾倾注了其所能及的心力和财力。为了促进中国新兴木刻的健康发展,鲁迅不但编选画册、组织"木刻讲习会"、举办外国版画展,而且他本人也在艺术理念对木刻家给予指引:其一,发挥创作主体的艺术创造性,展现木刻的"有力之美";其二,取今复古,广泛汲取有益的艺术因子;其三,发扬"民魂",创建属于民众的"生产者的艺术";其四,裨助美育,促使中国民众的心灵世界进向更为自由的天地。     

东巴面偶在纳西族东巴教仪式中应用现状的调查

作者从2008年开始对丽江东巴仪式活动较多的丽江县塔城乡署明村、鲁甸乡新主村、宁蒗县树枝村、香格里拉县三坝乡白地村、东坝村,四川省木里县俄亚乡等地进行东巴文化艺术田野调查,对知仪老东巴深度采访,实地参加东巴教祭天仪式①,希开、希务仪式②,拉姆务仪式③、祭风仪式④、退口舌是非⑤仪式等活动,收集整理了大量应用于东巴教仪式中的面偶艺术形象及内容,特别对东巴仪式中面偶应用现状进行调查研究。本文对东巴教面偶艺术的认识、保护、研究和传承有着积极的现实意义,能进一步推动对东巴教仪式文化艺术的整体研究。     

谢林的艺术哲学思想浅探

《艺术哲学》是谢林关于美学的重要著作,不仅是他美学思想的集中体现,是对艺术进行了哲学的研究,而且着重辨析了艺术与哲学的关系,分析了各种具体的艺术形态。尤其是在针对艺术与哲学的关系问题上,谢林持有与以往哲学家或美学家不一样的独特态度。在谢林看来,艺术具有与哲学等高甚至更高的地位,因为艺术比哲学更适宜于把握“绝对”。     

唐宋榜文考

榜文是中国古代政令传播的重要媒介,也是国家实现对民间社会事务管理与控制的重要工具。从目前的资料来看,早在汉代,肩负信息传播功能的榜文就已经存在。唐宋时期,统治者对榜文的重视与运用,达到了前所未有的程度,并在制定程序、核准、备案,包括榜文纸张的选定等方面,形成了一套相对规范的制度。     

Insurrectional Arts: Restoring a Politics and Ethics of Attention

Abstract

This chapter is inspired by contrasting passages in two stories. The first is in Jamaica Kincaid's story, ‘The Embassy of Cambodia'. Her narrator, who is following a transversality between two forms of atrocity: those practiced by states, as in the case of Cambodia's Khmer Rouge exterminism and that inflicted on abused migrant domestic workers from third world countries. The narrator notes that people in her village are too distracted to heed peoples’ afflictions: ‘The fact is if we followed the history of every little country in this world?…?we would have no space left in which to live our own lives or to apply ourselves to necessary tasks?…?’. In contrast, in Daniel Alarcon's story, ‘Collectors', a seasoned convict is explaining to his new cell mate how to survive by reading signs as you watch the men in the prison yard:

Did they have their arms at their sides, or crossed in front of them? How widely did they open their mouths when they talked? Could you see their teeth were their eyes moving quickly, side to side? Or slowly, as if taking in every detail?     

伊斯兰服饰文化与中西服饰文化之比较

和中西服饰文化不同的是:伊斯兰服饰文化是以伊斯兰教义这一最根本的价值观作为统摄服饰的文化、历史、时代、心理、审美各要素的最高主导思想。因此,这种服饰文化具有鲜明的宗教特征。它必然突出服饰的伦理观念,而服饰的艺术必须以服从这种伦理观念为前提。中西服饰文化则将服饰艺术视为服饰设计的首要原则,前者重装饰效果,后者重人体艺术,伦理观念对服饰设计的调节作用受到不同程度的弱化,甚至摈弃。