中国当代民间说唱艺术的生存与经营

中国民间说唱艺术是中国文学和各类艺术的母体,孕育了小说、戏曲等,并对音乐和舞蹈等有明显影响,研究价值较大。新中国建立了社会主义新经济体系,民间说唱艺术原有的市场体系被改造。政府通过“划分经济成分”等行政手段改造了说唱艺人,说唱表演场所也被国有化。说唱艺术创作体系被国有化改造,创作者的利益难以保证,生产体系被阻断。改革开放后,说唱艺术的国有经济体系逐步变革,说唱艺术团队多采用双轨制经营。部分民营团队回归传统经营方式,借鉴了现代市场化的经营,生存状况得到改善。     

论家班对昆曲的影响

在昆曲发展史上,昆曲的命运与家班紧紧相连。家班是联结文人与昆曲的纽带。通过家班,文人的审美理想与艺术追求才得以在昆曲中体现。因此,可以说,家班对提升昆曲的艺术品味起到了极为重要的作用。家班阶段的存在,确立了昆曲“尚雅”的美学追求,奠定了昆曲“精美”、“雅致”的审美格调。同时,作为一种重要的演出形式,家班还奠定了昆曲独特的艺术特征：在戏曲情节的推演上,用“歌舞并重”的方式进行呈现;在角色配置上,以正旦、小旦、正生为主;在演出方式上则以折子戏为主。     

禁戏事件及其背后的国家权力与地方社会——以赣南客家地区禁演采茶戏为例

采茶戏作为赣南客家地区传统的民间文艺形式之一,反映的是下层民间社会成员的情感意愿、价值观念以及道德追求。然而这种看似游离于国家权力之外的民间文艺形式,却蕴藏着国家与地方社会之间非常复杂的互动关系。国家一方面禁演采茶戏,以避免其所承载的思想意识的冲击,甚至同化其社会主流意识;另一方面,又对采茶戏本身的文化功能重新建构,使其为己所用。在禁演与改造,限制与合作的过程中,国家借助于文化的力量,逐步把自身的权力渗透到地方社会。因此禁演采茶戏的过程实质上是国家持续不断地把赣南地方社会纳入主流社会的过程。而赣南采茶戏也在与国家的斗争与合作之中为自己寻求到了一息生存之地。     

Understanding Sheng Nu (“Leftover Women”): the Phenomenon of Late Marriage among Chinese Professional Women

In the past few decades, there has been a rise in the number of single, unmarried Chinese professional women, which is known as the sheng nu or “leftover women” phenomenon. Through an interactionist grounded theory method, this study has located the interactional constraints faced by 50 single Chinese professional women that were issued by their male romantic partners and parents, respectively. “Discriminatory” and “controlling” gendered constraints issued by the women's male suitors and partners reflected the persistence of the Chinese patriarchal structure, and this was found to be the leading cause of the women being “leftover” in the marriage market. Parents' traditional views continued to exert strong influences on the women's marital choices, but this was seen to conflict with their more “modern” views toward advocating and supporting the women's strong economic achievements. The four different types of Chinese professional women that were constructed based on their different partner choice strategies not only gave rise to an in‐depth and nuanced understanding of the sheng nu phenomenon in China, but could also be generalized toward understanding the marital choices of single professional women in other patriarchal societies who faced similar dilemmas in reconciling interactional constraints imposed by men and parents alike.     

网络文化的表现形式及其特点

针对互联网发展形成的一种新的文化现象——网络文化,结合网络技术的发展评述了网络文化发展主要阶段的表现形式及其意义;指出了网络文化以信息技术发展为基础,以多媒体表现形式为手段,作为一种新型文化形式具有的特点。     

Examining Sex Differences in the Use of Direct and Indirect Aggression

Direct and indirect aggressive behaviors were studied using surveys and interviews of students in two public schools. The variables of “sex-of-aggressor” and “sex-of-target” were included. Claims in previous research that girls engage in far more indirect aggression than boys are not supported. Further, it was found that girls are more likely to target the opposite sex with direct aggression than boys. This suggests more gender fluidity in the use of aggression by girls and adds to a growing body of research that dispels the notion that direct and indirect aggression can be neatly sorted into male and female categories of behavior.

论淮剧“以唱见长”的文化审美特征

淮剧曾被称为“唱不死的淮剧”,由此表现出淮剧“长于唱”“工于唱”“擅于唱”“强于唱”的“以唱见长”“以唱为先”“以唱为重”的鲜明文化审美特征和独特艺术个性。以唱见长是淮剧文化的标识,是淮剧文化的根和魂,在淮剧创作和表演中呈现出丰富多彩的演唱形式,收到了良好的戏剧艺术效果,这也将成为未来淮剧文化审美的发展、繁荣、前进与努力的主要方向。     

论宋词歌妓传播的媒介生态

应歌时代的宋词以歌妓为传播媒介,歌妓在词的产生、传播和创作中均产生了重要作用。近年来,随着媒介生态学的兴起,把传播媒介看做生命体放在社会大环境下考察,认为媒介并不是机械地进行信息交换,而是不断与社会环境互动,参与到整个传播的全过程中来。歌妓作为一种传播媒介不是中性的、透明的和无价值标准的渠道,只管把宋词的信息从一个地方传递到另一个地方,其生存的社会环境制约、身份的限定等等因素都对宋词的传播产生着影响,其独特的生物特征和符号特征也带来了宋词传播的思想、情感、社会、内容等的偏向,最终产生了独特的宋词文化。     

中西方大学门户网站的文化差异研究

大学门户网站的规模、内容和组织形式,体现了办学宗旨和大学价值。通过调查西班牙大学排行榜中前20所中西方大学网站及其信息组织形式,对比中西方20所知名大学的同系列指标,分析中西方大学网站间的差别、差距,以体现中西方大学文化的差异。研究认为,由于所处环境的不同,中西方大学在共享意愿、管理服务职能方面存在一定的差异,集中体现在管理过程中的透明意识、服务意识、学术本位意识。     

参与民俗旅游表演与女性的东道主地位——以洛带客家女子舞龙队为例

洛带是近十多年来以＂西部客家第一镇＂而闻名海内外的一个成都东郊小镇。一年一度的客家水龙节是洛带民俗旅游活动的重头戏,而其中的女子舞龙队更是一道靓丽的风景线。东道主女性对旅游的参与程度和旅游对东道主社会介入的深度、旅游开发的类型与女性参与旅游活动的类型都是决定旅游对东道主地位变化影响的重要考察维度。洛带女子舞龙队虽然是水龙节表演的重要角色,但这种参与对旅游中女性东道主地位的影响甚微。