皖北坠子戏的源流与嬗变

以皖北坠子和坠子戏的源流与嬗变为研究对象,通过分析皖北坠子与皖北坠子戏的区别与联系入手,梳理其发展过程中名称和形式上的更迭,界定两者在形式上的差异性,通过剖析其发展与嬗变的历程,探究坠子戏作为一种综合艺术形式的发展与演变的历史轨迹。     

消解诗意的形而下欲望书写--大众文学粗鄙化倾向批判

市场语境下的中国大众文学优缺互见。一方面它凭借独具的艺术魅力,满足了大众的精神文化需求,赢得了受众青睐,获得了商业成功;同时,它又存在着“玩”文学、夸张地表现物欲、无节制地展示性爱等为媚俗而流于粗鄙化的缺陷,解构了文学的神圣性。对大众文学粗鄙化倾向的批判以及为其寻求去粗鄙化的有效途径,既是大众文学自身健康品格培养和未来可持续发展所需,也是社会主义文化建设的具体实践。     

历史叙事与历史意识——电视连续剧《屈原》谫议

历史意识对历史叙事有着不容忽视的作用,正是由于历史意识的匮乏而使得当下不少的历史题材电视剧创作走向了误区。长篇电视连续剧《屈原》的审美追求负载着强烈的历史意识,这既表现在电视剧的主题内涵与人们的生命状态、生命体验的高等契合,也反映在历史叙事的艺术形式追求和当代审美理想的一致性上。文本的话语精神彰显出了当代的价值判断、历史思维和审美意识,为历史剧创作留下了诸多的艺术启示。     

从传统走向现代:近代传奇杂剧的舞台艺术变革

大量的剧本材料表明 ,近代传奇杂剧在服装、道具、烟火、灯光、场幕、布景等方面发生了根本性的变化 ,旋转舞台也开始出现。这些舞台艺术变革与创新是中国戏曲传统的扬弃 ,更是在外国戏剧文化影响下发生发展的。近代传奇杂剧的舞台艺术转变与其他方面的重要变革共同促进了近代戏曲的发展 ,同时也加速了传奇杂剧的式微与消亡。这种深刻的历史转变是古典戏曲向现代戏剧转变的一道津梁 ,对中国传统戏曲格局的终结和现代戏剧格局的建立也起了重要作用。     

Issues facing brothers of sexually abused children: implications for professional practice

This paper draws on the author's experience of undertaking play therapy with the brothers of sexually abused children. It illustrates the range of difficulties that such boys may face and identifies implications for professional practice. Difficulties are understood as arising from the struggle to develop a coherent narrative about the abuse, often in the face of incomplete or contested information. The outcome is influenced by the nature of the child's attachment relationships with his non‐abusing parents or carers, his abused sibling and with the abuser himself. This struggle for a coherent narrative about the sexual abuse can have a significant impact on the development of a sense of masculine identity, particularly when the abuser is the boy's own father and/or the abused child is male. In the context of increasing professional awareness of the need to support siblings of sexually abused children it is argued that there should be a specific focus on gender and identity issues for boys.     

论宋代教坊与民间演剧之关系

宋代教坊与民间演剧的关系主要表现为以下几个方面:第一,民间伎艺人承应内廷演出。宋代教坊凡遇大型节日庆典均要征集民间伎艺人入宫承应演出。第二,教坊伎艺人与民间伎艺人在民间节日期间以及内廷重大庆典时都有同台演出的机会。教坊伎艺人与民间伎艺人同台献艺,对教坊伎艺人来说,是一个极好的博采民间众长的时机。第三,民间伎艺人与教坊伎艺人的互动。这种互动主要表现为:教坊伎艺人因年老、战乱等原因流落至民间;而民间伎艺人因其伎艺精湛而被征入教坊,这都促进了民间与教坊伎艺的交流。另外,宋代教坊乐艺组织对民间的影响也很深远。     

The epistemic structure of a theory of a game

This paper is a contribution to the systematic study of alternative axiom-sets for theories of (normal-form, complete-information) games. It provides an introduction to epistemic logic, describes a formulation in epistemic logic of the structure of a theory of a game (the broad theory of that game), and applies methods of epistemic logic to define strategies for dealing with two disturbing features of game theory, its hyperrationality assumptions and its indeterminacy. The analysis of these problems is conducted in terms of two principles which impregnate much game theory, Cleverness and Cloisteredness (the principles that players know respectively all, and only, the logical consequences of their assumed knowledge). Broad theories allow us to formulate and revise these principles despite their metatheoretical character. It is shown how Cleverness may be weakened by using logics which restrict the Rule of Epistemization, and Cloisteredness by using default logic or autoepistemic logic; the latter is used to characterize Nash equilibrium beliefs as parts of certain autoepistemic extensions of players' knowledge bases, but these particular extensions are rejected as ungrounded.I am grateful for most helpful comments to Robin Cubitt, Joe Halpern, Ernest Geffner, Philippe Mongin, David Squires, Elias Thijsse and Tim Williamson.     

Producing and Using Video Data in the Early Years: Ethical Questions and Practical Consequences in Research with Young Children

This article considers ethical questions and practical challenges arising from the production of video data with young children, and suggests that such considerations are reciprocal and that video data should be seen as constructed collaboratively by all participants. Video data can be a valuable means of eliciting children’s perspectives, but it raises particular issues of consent and confidentiality. Opportunities for young children to use video cameras are helpful in supporting informed consent and active participation, whilst the visual nature of video renders anonymity and confidentiality more difficult, and anonymisation of images may impact upon data quality. Video, like all research data, is influenced by the actions and biases of participants, and young children’s experiences as consumers of television will influence their reading of, and responses to, video data. An advantage of video is that it can provide participants with feedback about their participation. Challenges remain with regard to ownership.     

青藏高原藏戏遗产及其特点——以青海藏戏为例

本文在介绍青海民间藏戏形成发展的基础上，就藏戏的特点作了探讨。     

敦煌讲唱文学对戏曲的影响探析

敦煌讲唱文学的类型多种多样,艺术形式丰富多彩,是唐五代时期在敦煌地区广为流行,能够表现普通民众的社会生活、思想感情、理想愿望,同时又采用了广大民众喜闻乐见的形式的通俗文学作品。敦煌讲唱文学在类型、体制诸方面富含戏剧因素,因而对其加以分类和探讨,对戏曲起源的研究将有所裨益。