时装画与服装文化

时装画是为了服装的设计、制作和推介而创作的具有审美价值的绘画样式。时装画对于服装文化的发展具有推动作用 ,探讨和研究时装画产生、发展的历史和现状 ,对于发展中国的服装文化 ,具有重要的意义。     

意象是心灵上的图画

探讨了意象的渊源及其互为影响、超越时空的意象差异、不同语境的理解与阐释以及意象作为文艺作品生命的细胞,并分析了它们在跨文化交流中所起的作用。     

"绘画构图"浅说

绘画构图是绘画语言的要素之一,在绘画作品形成过程中,构图有着与线条、色彩等绘画语言同等重要的地位.本文从三个角度谈不同的绘画构图体现着画家不同的审美意向、追求、个性及给观者带来不同的视觉感受.     

论电视现场报道的特色与创新

电视现场报道是社会人群求新求真和认识多元化的产物。现今的电视现场报道可以概括为三种形式 :主体式报道、客体式报道和主客体交融式报道。在此基础上的电视现场报道的发展和创新应该是新闻故事化和故事情节化、创造性地运用蒙太奇手段、正确过程画面和声音细节 ,并尽可能做到一个时空展现一个事件     

Television and Violence in the Economy of Memory

The present paper aims to consider the cultural function of television as a technology for the creation of a public memory. The television system records past images, preserves them, and broadcasts various historical programs. A viewer owns the public memory jointly, through watching/consuming programs. However, the process of production and consumption of programs is linked with the exclusion of other historical memories from the public space. After all, the creation of public memories in depth is related to social power. Through the analysis in concrete terms of a series of programs of Project X and the second episode of the Nippon Hoso Kyokai (NHK; Japan Broadcasting Corporation) series, Special Edition: Judging War, the relationship between the organization of public memories and social power is explored. Project X depicts the challenges of engineers of middle standing who initiated new industrial and technological developments in the 1960s and 1970s. Special Edition: Judging War is based on coverage of the Women's International War Crimes Tribunal on Japan's Military Sexual Slavery. This program was subjected to revision on the eve of its broadcast. What forms of expression were eliminated? These two programs should help us define more clearly what the Japanese media selects for incorporation into the public memory.     

绘本教学对幼儿情绪调节能力的影响

为探索绘本教学对幼儿情绪调节能力发展的影响,本研究使用实验法和问卷法,随机选取某幼儿园中班共48名幼儿为研究对象以及幼儿所在班的W老师为实验合作者,以《中国第一套儿童情绪管理图画书》为载体对24名幼儿实施情绪绘本教学,实验组和对照组同时采用《幼儿情绪调节发展状况问卷》（教师评定）对幼儿情绪调节能力进行前测和后测。研究结果显示,实验组幼儿与对照组幼儿在基本情绪识别与理解、情绪的表达、情绪的调控和情绪的运用等方面的发展水平差异显著;实验组幼儿情绪调节能力各维度前后测存在显著性差异;对照组幼儿的情绪调节水平前后没有出现显著性差异。研究结果表明绘本教学促进了幼儿情绪调节能力的发展。     

The positive transmission and aesthetic reconstruction of Chinese contemporary films and television works to contemporary college students

The varieties and different form of contemporary films and television works have brought a great impact to the group of college students' ideas and behaviors. The works are the textbook of outlook on life, the guide of values, the leader of outlook on beauty, to contemporary college students. This paper points out that the contemporary film and television works play an important role in the ideological and political education of contemporary college students. For positive transmission and aesthetic reconstruction of Chinese film and television works from the perspective of ideological and political education, one needs to do the following things: to explore new ways of aesthetic education in the Internet era through film and television aesthetic education; Refusing to cultivate the one-dimensional personality in the media age by film and television aesthetic education; To build a new type of film and television aesthetic education system, for a new breakthrough in film and television art classroom, so as to promote the all-round development of contemporary college students in moral, intellectual, physical, beauty, labor.     

论“被现代”图景在现代中国文学中的展现

"现代"是由各种向不同方向扯动的诸多主题共同建构的一种历史凝缩的结果。"现代"是背靠启蒙运动和工业革命的社会进程。它的发展将整个世界卷入其中。它同时拥有积极阳光的一面和腐烂阴暗的一面。后者集中体现在那些没有两大背景的"被现代"的第三世界国家。现代中国就是不幸处于现代时空中的第三世界国家。在现代中国文学中,我们能够看到"被现代"所带来的无奈与衰颓。老舍的《骆驼祥子》就是展现这幅"被现代"图景的典型作品之一。     

美国视频通信市场的转型——付费视频内容转向互联网

本文概述了当前美国有线电视行业／付费视频行业的局势，以及一些重要问题和面临的挑战，展望了未来的视频市场，概述了一个未来视频／宽带市场的战略愿景，然后回归到政策建议及具体的立法和管制行动。这将帮助我们在最短的、可操作的时间内通向一个开放的、非歧视性的、无处不在的宽带网络。     

Fat Monica,Fat Suits,and Friends

This paper examines narratives about fatness that are represented and reproduced by the character of “Fat Monica” played by Courteney Cox in a fat suit on the sitcom Friends. By drawing on David T. Mitchell's framework for analyzing “narrative prosthesis,” I examine how Fat Monica's narratives on Friends represent complex intersections of identities. I argue that fat suits often evoke fatness to support limited and clichéd narratives; however, fat suits may also enable new means of representing and understanding fatness. Through an analysis of the ways in which Fat Monica is represented in the episodes she appears in, three key uses of Fat Monica's fatness are discussed. Firstly, I examine the comic uses of Fat Monica and their relationship between fatness and humour. Next, I examine how Fat Monica storylines represent interlocking narratives of fatness, femininity, and sexual desire. Lastly, I consider how Fat Monica represents the construction of the normative body and claims about fatness and authenticity. Ultimately, Fat Monica illustrates how fatness relates to understandings of humour, gender, social class, and heterosexuality.