农民画时代 时代画农民

当代中国农民画,是世界文化艺术宝库中的一朵奇葩,是当代中国农民时代精神的反映。去年7月,由中国文联、中国美协、中共浙江省委宣传部共同主办,浙江省文联、浙江省美协承办的“农民画时代时代画农民——全国农民绘画展”,在浙江美术馆举办。     

The Ethics Ecosystem: Personal Ethics,Network Governance and Regulating Actors Governing the Use of Social Media Research Data

Minerva - This paper examines the consequences of a culture of “personal ethics” when using new methodologies, such as the use of social media (SM) sites as a source of data for...     

The Jolt of the New: Making Video Art in Arnhem Land

This essay describes the ways that an indigenous aesthetics of the new informs emerging forms of digitally-driven creativity in Aboriginal north Australia. Central is the media art project Christmas Birrimbirr (Christmas Spirit), which began as an ethnographic experiment with digital media and ritual aesthetics. Taken up by Yolngu collaborators as something new and exciting, the project explores uses of video art and more supposedly traditional media to produce ritual in a gallery setting. The imagistic dynamics of the project gave rise to dream visions and ritual innovation resulting in the production of a Christmas unlike anything previously seen in Arnhem Land, or for that matter, anywhere else. The aim of thinking through the idea of newness itself is to get closer to a sense of what the project leader, Paul Gurrumuruwuy, means when he says about our media work: ‘When you make gamununggu (ochre painted sacred design) yuta (new), you make it talk’.     

宋代说唱艺术观念论略

宋代说唱艺术观念尚处在中国古代说唱批评史的早期阶段,多见于宋人的笔记文集,是纪事的附属物.应该说,宋代的说唱艺术观念多属于记述中的即兴批评,尚未形成完整的体系,在一些关键的问题上也还缺乏明确、理性的认识.尽管如此,说唱作为一种独特的表演艺术形式,毕竟在宋代获得了长足的发展,并且形成了关于说唱的本体观念、创作观念和表演观念.这些观念不仅构成了宋代说唱批评的主体,而且代表了宋代平民艺术的审美观,对宋以后说唱艺术的发展产生了深远影响,理应引起我们的重视.     

The ``Death-Effect' in Art Prices: A Demand-Side Exploration

Many factors affect the supply and demand characteristics of artists' output.This exploratory study focuses on a ``supply-induced' demand effect –the death of the artist and the assurance that, from the perspective of thedurable goods monopolist, the output of the artist ends. While not purportingto be a formal test of that proposition, we observe, using U.S. auction data,a clustered rise in artists' values immediately around the time of death andsuggest some possible demand-side explanations using a sample of LatinAmerican artists between 1977 and 1996.     

明清徽州生存伦理下的多元文化

在徽州生存伦理的影响下 ,明清时期的徽州社会文化中有着奢侈和节俭的双重体现 ,有着多样化的婚姻形态 ,有着对赋役的抗争和主流职业价值观的重新诠释。徽州社会文化的表层呈现出了多元性的生存意识强烈的一面。     

Mediating the Ethics of Technology: Hollywood and Movie Piracy

This essay invites readers to re‐examine the cultural meaning of movie piracy in the context of Hollywood's global domination of world cinema. It focuses on VCD piracy in Asia. This popular low‐end technology interrogates and deconstructs the technological fetishism that dominates contemporary Hollywood productions. This essay asks whether and how movie piracy can be theorised to yield a more productive understanding of technology as people's corporeal experience of the material world in a socially constructed political economy.     

The Complementarity Between the Collective and the Individual

Besides his activities as a theoretical physicist, the Belgian Léon Rosenfeld cultivated and showed a lively concern for history of science since his student years. This paper is a study of his publications, correspondence and other endeavours in history of science, mainly during the early Cold War period, in order to explore his essentially Marxist views on science and society and how they differed from those of other Marxists scholars, most notably John D. Bernal and Boris Hessen.     

The Itinerary of Commemoration in the Kigali Memorial Centre: On Trauma,Time and Difference

Exploring how the 1994 Rwandan genocide is memorialised in the nation's flagship memorial centre, this article pursues a new dialectic between history and trauma. As I shall demonstrate, the current theoretical model of trauma misreads time and consequently erases cultural difference and historical specificity in the formation of transcultural alliances. In rethinking time and difference in trauma, I develop a new trauma framework that situates the formation of transcultural alliances at the site of difference, which promotes new modes of ethical response and political subjectivity in the aftermath of violence.     

Worlds Apart: The Barrier Between East and West

Abstract

This paper reports findings from an ethnographic study of the adjustment experience of a group of postgraduate international students at a university in the south of England. Friendship emerged as a major category of research, an aspect of which was the formation of a divide between Asian and European students. The division between the two camps was universally observed, and it was attributed by Asian students to a desire for a more friendly and supportive environment than they felt European students were offering. More research is needed on the European perspective on the communication breakdown between the two cultures, so that institutions can work on realizing the benefits that the international campus is purported to offer.     

文坛逸事

《永乐大典》失踪之谜《永乐大典》是中国古代最为成熟、最为杰出的“百科全书”。永乐三年(1405年),明成祖下令编纂《永乐大典》,     

文苑逸事

梅兰芳学画 1915年前后,梅兰芳二十几岁的时候对绘画越来越发生兴趣.先从王梦白习画,后向陈师曾、齐白石等学艺.     

中国山水艺术的生命意识

中华民族的先人执着于“天人合一”的观念,他们确认自身与山水处于和谐的人生伙伴关系,进而将山水视为对象化的自身,山水与人有类似的感觉和情绪。当这种渊源深远的集体意识转入到艺术领域,音乐家首先发明“移情”山水之说,画家以“势”表现山水的生命态势,文学家以“情往似赠,兴来如答”表述人与山水双向交流的关系。山水艺术的生命意识在绘画领域得到更生动更直观的表现,从荆浩到郭熙,画家们描绘山水鲜活的生命有非常自觉的意识,进入到山水“人化”的境界;继而至石涛,提出“山川与予神遇而迹化”的新命题,山水真正地成了画家的自身,画家生命意识与山水的生命态势有了主客一体契合无间的融合,于是中国山水艺术再次上升到“人的本质力量对象化”的最高审美境界,辉煌的生命境界。