No Human Resource is an Island: Gendered,Racialized Access to Work as a Performer

This article explores the reproduction of gendered, racialized conceptions of age and appearance in structuring access to performing work. Analysis of this issue leads to discussion of a key supposition: that central work experiences of women performers are manifestations of their position as formal and informal proxies for women's experiences in wider society. Women performers are formal proxies in that they are employed to ‘be women’; to represent women for consumption in the circuit of culture. They are informal proxies in that they are allocated to highly segmented labour markets based on wider patterns of gendered, racialized social relations.     

论表演者权——以著作权法第38条的修改为视角

表演是传播文学艺术作品或艺术表达的重要途径,表演者因表演行为而享有表演者权。但从我国著作权法第38条的规定来看,对表演者权的保护并不充分。为适应科学技术与社会生活的变化,须加强和完善对表演者权的法律保护。这不仅能调动表演者的创作积极性,还能促进文学艺术创作和娱乐产业的进一步繁荣。     

古代曲学中的演艺论

古代曲学中的演艺论是伴随着舞台搬演而产生、发展的。从演员论、演唱论、演技论、导演论对古代戏曲演艺论进行分析,可以看出古代戏曲演艺论具有科学性和实践性,对戏曲发展起到积极的推动作用     

历史文化地理视角下的“大同婆娘”

"大同婆娘"这一地域文化现象的产生主要有三个方面的原因:由于大同在历史上特殊的地理位置使得这一地区经历了长期的民族融合,人种发生了很大的变化;特殊的地位又促进了该地区经济的发展,促进了当地人口流动和消费水准的提高,改善了当地人口的质量;明代畸变的乐户制度导致该地区聚集了大量的外籍乐户,其中色艺俱佳者比比皆是,她们对大同地区人口质量的改变也起了一定的作用。     

The Effect of Negative and Positive Childhood Divorce Experiences on Professional Performers

The purpose of this study was to provide an in-depth analysis of divorce by comparing levels of depression, anxiety, self-esteem, and availability of resources between professional performers who were children from divorces considered negative, divorces considered positive or neutral, and professional performers raised in 2-parent households. The results of this study indicated that performers raised in divorced families reported more depression, more anxiety, and lower levels of self-esteem than those who were raised in intact families. Additionally, results indicated that those who were raised in neutral to positive divorced families reported less depression, less anxiety, and higher levels of self-esteem than did those stemming from negatively divorced families. Implications for treatment and directions for future research are presented.     

论民间表演艺术集体表演者追索权

民间表演艺术集体表演者追索权是增益权,具有属人性、有限性、增值性特点。该权利存在有其法理基础与经济利益考量。世界现有的该权利的立法国多数是大陆法国家,少有英美法国家,国际条约也有折中性确定。中国特色民间表演艺术集体表演者追索权制度的建立,是民族文化利益的公平、公正分享及保护国际文化交流正当权益的时代要求。     

江西南丰傩舞表演者的运动符号解析

江西南丰傩舞因其表演形态而出名,其身体动作无不由一个符号总体组成。通过南丰傩舞中表演者的面部表情、手势和声音三种运动符号的分析表明,傩舞中表演者的一招一式都具有强大的意指功能,蕴涵着丰富的艺术、神话和文化信息。     

简论音乐形象的三维动态结构

音乐形象并不是一维的存在,而是由作曲家、演奏家、欣赏者这三者共同塑造的一个三维动态结构。在这个动态结构中,音乐形象不断地转化、发展、丰富和完善。     

Lights,camera, condoms! Assessing college men's attitudes toward condom use in pornography

ABSTRACT

Objective: Investigate male college students' attitudes toward actors' use of condoms in pornography. Participants: Two hundred thirteen undergraduate males attending a large, state-supported midwestern university in the fall semester, 2012. Methods: Using a Web-based procedure, participants completed questionnaires assessing their pornography use, sexual history characteristics, and their attitudes toward condom use by adult performers. Results: Factor analysis of the 11-item condom use attitudes questionnaire supported 2 distinct subscales: Condom Supportive Attitudes and Condom Critical Attitudes. Although participants typically agreed with statements supportive of condom use and generally disagreed with statements critical of condom use in pornography, gay men had significantly higher condom supportive subscale scores than did heterosexual men. Neither subscale was correlated with weekly viewing of pornography. Conclusions: Although some producers of adult films argue that actors wearing condoms will displease many viewers, current findings suggest that young men express support for use of condoms by pornographic film actors.     

关于表演者权的几点思考

表演者权是我国著作权法保护的邻接权之一,在这些年的司法实践中出现了很多有争议的问题,反映出相关的立法有许多有待于进一步完善之处。本文对表演者权的主体、职务表演的表演者权归属、表演者权与肖像权的关系等几个典型问题进行了较全面地分析。