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。     

鲍德里亚的消费经济批判及其艺术性变革

在鲍德里亚看来,当代社会在经济现象形态方面表现为消费经济的活跃,需要进行符号经济学批判。当代消费经济具有独特的运行机制,是将各种商品都转化为符号体系的过程,这既是资本的进一步扩展、资本增值的实然逻辑,又是技术理性的渗透、媒介信息的传播,还是物体系的形成、拜物教的深化。消费经济及其奢侈文化从大都市扩散到世界各地,推动了当代商业的发展。当代消费经济令人与人之间关系冷漠,围绕人的不再是实际物品,而是众多意义,需要用结构主义符号学分析其运行机制,采用艺术性变革的方式消除消费异化。艺术能够建构具有救赎作用的乌托邦,不应只为了满足感官刺激,而要通向真理之路,唤醒人的创造潜能,改造消费社会的不合理机制。     

“学术”与“革命”的交融——李何林现代文学研究述略

作为中国现代文学学科开创者之一,李何林的学术成就主要体现在左翼文艺研究和鲁迅研究两个方面。他的《中国文艺论战》、《近二十年中国文艺思潮论》仍是当今学界现代文艺思潮研究不可忽略的出发点;他的鲁迅研究与“新民主主义”的文学史观结合,堪称建国后鲁学“正统派”的代表。对李何林而言,革命经历影响学术选择,学术方法、理路体现革命信仰和斗争思维．我们要从“革命”与“学术”的交融来理解其现代文学研究。     

“艺术化”与“社会化”的批评价值观辨析

建国以来的文学批评价值观从总体上可划分为＂艺术化＂和＂社会化＂两种。＂艺术化＂的批评价值观坚持文学的审美价值取向,＂社会化＂的批评价值观坚持文学的社会功利价值取向。文学价值是一个多元价值系统,相应的文学批评的价值取向无疑也是多元的。＂文学化＂批评和＂泛文学化＂批评各有其合理性和局限性。     

秦皇岛明长城券门雕刻艺术特色及现状调查

在秦皇岛境内的300余km明代长城中,有近千座敌楼,保存完整和较为完整的约占半数,在这些敌楼上都有券门和券窗,在很多券门上刻着具有很高艺术价值的浮雕装饰,他们利用当地特有的材料,就地取材进行创作,风格各异,材质变化丰富,使原本冰冷的军事防御工事,增添了许多文化气息和人文关怀,然而由于近年来缺少相应的保护措施,使得大部分精美作品遭到了不同程度的破坏和损毁,合理利用和保护这些文化遗产是迫在眉睫的事情。     

文化生态与艺术传承——以热贡艺术为例

本文结合田野调查资料,根据热贡文化生态特点,从文化生态学、艺术人类学角度,探讨了热贡艺术的文化生态,及生态系统中的文化特质,并时热贡艺术产业化发展进行了思考.     

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.     

Between hagiography and historiography: Chabad,scholars of Hasidism,and the case of the portrait of Rabbi Shneur Zalman of Liady

The portrait of Shneur Zalman of Liady is one of the most popular images in modern Jewish iconography. Published at the end of the nineteenth century, the portrait has quickly gained popularity both within and without the Chabad community. However, unlike the religious audience, which reveres the portrait as a faithful representation of the founder of Chabad, the secular, academic audience rejects it as fraudulent, together with all the supporting evidence provided by Chabad. This article revisits the history of the portrait’s creation and publication, paying particular attention to Russian documentation produced by Chabad in the 1930s, which has so far been entirely ignored by the scholarship. It identifies the portrait’s alleged painter and owner as well as other characters mentioned in these documents, with the aim of verifying Chabad’s version of events. Although this article does not answer conclusively whether the portrait is authentic or not, it proffers corroborating evidence for the Chabad point of view, and briefly discusses future research possibilities for the topic. Furthermore, the article considers the ways in which the leadership of Chabad used the history of the portrait to consolidate the movement and discusses the challenges that Chabad partisan historiography poses for the academic study of Hasidism.     

Jia’s The Chinese Version

Abstract

The Chinese Character Simplification Programme of 1955–1957 that remains a national standard by force of law in the People’s Republic of China, not only degraded the aesthetic properties of the Chinese written character, but also hindered literacy by means of a haphazard formal reduction of the number of strokes, and by eliminating two-thirds of characters from the lexicon of those allowed for publication. In The Chinese Version painting series by Jia (b.1979), the artist arranges Chinese characters according to formal rather than semantic criteria, in order to generate by means of their juxtaposition, abstract or figurative patterns. Each character may retain its individual meaning, but not its function as a sequential syntagm. This strategy invests the characters with a formal aspect to ‘return’ that which was mutilated by the Simplification Programme. As the Simplification Programme’s formal changes ended characters’ role as image-signs, the artist’s choice to present each work as a painting alludes to their lost image capacity while appearing to imitate the outward aspect of printed characters, thereby implicitly turning against itself the pretext of character simplification for the sake of efficiency.     

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.