论张抗抗《情爱画廊》的女性意识

张抗抗是新时期文坛上走在前列的为数不多的女作家之一,她的不少作品都鲜明地体现出了强烈的女性意识,同样《情爱画廊》这部长篇,作者更是通过对现代爱情和婚姻的阐释,表达了其自由、自主、自强的女性意识。     

Body of knowledge: Sunderland Museum and Art Gallery and the blind imagination

ABSTRACT

This article examines the cultural and philosophical intersection between visual and tactile knowledge and the emergent aesthetics of modernism. In the September 1913 edition of The Museums Journal, J. A. Charlton Deas published a paper entitled “The Showing of Museums and Art Galleries to the Blind.” The text, exceptional in its historical context, complicated prevailing assumptions about acts of “visual” art and blindness. Deas details a series of experiments undertaken at Sunderland Museum and Art Gallery from 1906 to 1913 that consisted of making accessible exhibits, specimens and paintings for blind children to touch. Unprecedented at the time, these experiments recast the persistent Western belief that the eye has privileged access to knowledge, instead asserting that knowledge is embedded within material corporeality. The physical, creative and intellectual inclusion of blind people into the formerly inaccessible space of the museum was unique in its reach and offers a refreshing new perspective of what those (authoritatively visual) spaces could be. Sunderland, a region which tends to be discursively separated from the ambitions and experiments of modernism, was at the center of modernist discussions about knowledge, sight and touch; and, disrupts modernism’s silence with respect to acknowledging unprecedented regional developments such as those detailed in “Showing.”     

宋明宫廷画院职官待遇对画院水平的影响

在社会、政治、经济条件基本一致的条件下,宋代宫廷画院的整体水平比明代要高,导致这种结果的原因很复杂。本文通过比较分析宋明两代宫廷画院的职官制度、画家的升迁状况和画家的待遇,认为宫廷画家水平受此因素的影响很大。宋代的职官待遇比明代更系统,对画家更有保障,所以更能吸引高水平画家到宫廷画院任职,从而提高画院的整体水平。     

The senses at the National Gallery: art as sensory recreation and regulation in Victorian England

ABSTRACT

In 1850, the keeper of the National Gallery in London described the museum as being frequented by “school boys eating bread and cheese” and country folk who “drew their chairs round and sat down, and seemed to make themselves very comfortable”. As for the pictures on the walls, these were smeared with the fingerprints of inquiring gallery-goers. The tension between the National Gallery as an unfussy place of recreation, in which visitors could enjoy themselves at their ease, and as a prim site of regulation, in which visitors must learn to exercise tight control over their behavior, played itself out in elite nineteenth-century debates over the role of the Gallery as a public space. This article examines nineteenth-century representations of the ideal sensory role of the National Gallery and its problematic actual sensory life. This leads into a discussion of the ways in which the National Gallery and other public art institutions were imagined to function as the soft fingertips of the long arm of the law, transforming social disorder into social order and destructive sensuality into compliant sensitivity.     

“一种特别的人间味”——论《画廊集》的艺术风格

李广田早期散文集《画廊集》有其独特的艺术风格,主要体现在以下三个方面：一是在内容上以小见大,反映了偏安一隅的生活画廊;二是在感情上真挚自然,反映出纯真质朴的田园气息;三是在语言上清新朴野,透露着乡村俗语的生活味道.《画廊集》的艺术风格体现出“一种特别的人间味”.但是,《画廊集》也存在着一些缺憾：反映的生活画卷不够广阔,没有正面展示当时的革命斗争,在散文的内容和语言上存在着过于浓重的模仿痕迹等等.     

关于理想的不辍之思——从《北极光》到《情爱画廊》

涉及文化核心的理想,于个体于群体至关重要。无论民众还是精英,有理想才不致迷失。从《北极光》到《情爱画廊》,十余年间,作家张抗抗以自己对理想的执着追求表现了一个文学知识分子的社会责任心,在社会转型的关键时刻发挥了重要作用。