中国艺术研究院文学艺术创作研究院汇报展舞台美术专题作品赏析

欣赏中国艺术研究院文学艺术创作研究院汇报展部分作品:国庆70周年群众游行文化彩车设计、国庆70周年群众游行新疆维吾尔自治区彩车、国庆70周年群众游行台湾地区彩车,以及大明宫夜游、大型人偶音乐剧《八层半》和音舞诗画《琴乐书法》。     

中文图书套录编目若干问题的探析

根据目前中文图书编目中套录数据的来源,针对套录数据中存在的一些问题,探讨了套录编目的优点,提出了具体的处理方法。     

从三次科技革命看科技发展的人文价值趋向

科学研究过程具有人的目的性,受人的价值观的支配,内在地包含着人文关怀的根据。因此,科学技术具有明显的人为性、为人性,科技发展具有明显的人文价值取向:三次科技革命极大地改变了人们的生活方式,提高了人们的生活质量,使人的素质得到全面发展;科技革命使管理方式更趋人性化;科技发展为人们参与社会管理、实现民主政治奠定了物质基础;科技革命使人的生存环境不断人化、人文化,进一步彰显了科学技术的人文价值取向。     

社会和谐是中国特色社会主义的本质属性

社会和谐是科学社会主义理论对未来社会科学构想的本质诉求,是我党探索中国特色社会主义的不懈追求.社会主义和谐社会的核心价值观是以人为本,坚持以人为本和科学发展观,实行全面协调可持续发展,促进人的全面发展,实现社会和谐,是建设中国特色社会主义的本质要求.     

论现代中国民族歌曲中五种主要情感美类型

音乐是非常擅长于表现情感的一门传统艺术.现代中国民族歌曲表现了我国各族人民丰富多采的情感,特别是爱国之情、乡情、亲情、友情和爱情这五类情感.表现这些情感的现代中国民族歌曲,在旋律、节奏、调式和情调等方面整体上呈现出各自不同的艺术特征,并给欣赏者带来各具特色的审美体验.它们并非互不相干和孤立自存,而是内在关联和彼此融合,并且在某些情形下一者向另一者转化.     

普通话音节结构再分析——从韵律研究的角度

比较汉语音节结构传统分析与现代音系学分析的异同,可以根据语音学和音系学研究,在非线性音系学的框架内提出关于普通话音节分析的最简方案.亦即,普通话音节分为首音和韵两部分,首音包括传统分析中的声母和韵头(介音),韵包括韵核与韵尾,对应于传统分析中的韵腹和韵尾.介音不再被看作是音节中占有时段的实体,而是看作声母的特征.韵不管是只有韵核还是韵核加韵尾,都包含两个韵素,占两个时位.普通话音节均为包含两个韵素(莫拉)的长音节.     

Xu Beihong and the New China: thoughts centered on the painting At the World Peace Congress

This essay analyses a politically tinged painting by Xu Beihong (1895–1953), a representative modern Chinese painter. He composed the work in 1949, just before the founding of the People’s Republic of China, or the New China. In this article’s discussion of the perplexing work, the author attempts to unveil Xu’s understanding of revolution and of the relationship between art and politics, in relation to his difficulties in exploring and practicing art in the early Republic period (1912–1949). Based on this, the author discusses the painter’s mindset in the social and political context of the New China. She also tries to reveal that Xu’s art practices were restrained by the realities he was in – a crucial point to understanding his achievements and predicaments. As an artist who resisted the western modernism in the course of modernization, and who idealistically pursued the highest good and beauty through “realist” approaches and historical expressions, Xu’s predicaments interestingly reflect the complicated relationship between art and revolution in China’s road to modernization, and provide a foundation for further explorations into the core issues and the particularity of modern Chinese paintings.     

Mandarin lessons: modernity,colonialism and Chinese cultural nationalism in the Dutch East Indies,c.1900s

The Chinese Association in the Dutch East Indies, known locally as the Tiong Hoa Hwe Koan (THHK) was first established in Batavia in 1900. A key objective of the THHK’s foundation was the creation of modern schools instructing in Mandarin for local Chinese students. At the turn of the 20th century, this odd choice of instructional language led to highly charged debates about languages, pedagogical efficacy, practicality, modernity-tradition and cultural authenticity. Using underutilized source materials in the local Malay-Hokkien vernacular, this article revisits these debates amongst the Chinese in the Dutch colony. This article interrogates the transparency of common ethnicity in analyses of Chinese nationalisms that developed outside of continental China. Drawing on the concept of “literary governance” as well as comparative work by scholars on Indian and continental Chinese nationalisms, it demonstrates the significance of the colonial context which provoked the THHK to adopt the vocabulary of modernity in reworking progressive ideas circulating in displaced Chinese nationalistic circles. Notwithstanding the THHK’s promotion of Mandarin, such reworking was accomplished through vigorous acts of transliteration and translation in the hybridized Malay-Hokkien vernacular. The THHK was hardly on the receiving end of nationalistic influences emanating from the proverbial China core but was an active agent in what has been described as a “global moment of Chinese nationalism.” The case of the THHK demonstrates the need for a finer understanding of multivalent histories of Chinese nationalisms as well as how these histories intersected with those of European colonialism in Southeast Asia.     

The trajectory of the “Third World” in early modern Chinese thought

In this essay, I trace two aspects of the thought on the “Third World” in early modern China: how to understand the world revolution, and how to create a new China. While focusing on two trendy notions at that time, i.e. “Chinese revolution” (Zhongguo geming), and “nong country” (nongguo), I argue that the thought on the “Third World” in early modern China breaks free of the shackle of fashionable theories and draws upon local circumstances and China’s own repertoire of power when exploring an ideal of a new world. While the difficulty in confronting the “Third World” consciousness in today’s China is still overwhelming, the fact that we now remember “the spirit of Bandong” signals some progress.     

对学校武术教育的历史回眸与当代发展的思考

摘要：现在是一个传统文化发展最为美好的时代。这一点不仅仅存在于文化界,而更为火热的却是在学校教育领域。作为长期存在于学校教育中的武术教育,正是在这一背景下开始被国家行政主管部门的高度重视。在文献资料查阅的基础上,运用历史学研究方法,对学校武术教育发展历程进行分段梳理和特点归纳;并在“思想是变革的先声,理论是实践的指南”指导下,就学校武术当代发展的一些问题在进行了学理上的思考。研究认为：坚持从传统武术拳种出发的学校武术教育内容的实施,才应该是我们的正确选择;下大力气建构起具有独立文化体系的学校武术教育平台抑或是校本课程,才是实现学校武术教育繁荣发展的有效路径;通过武术在学校教育中的务实推进和开展,让更多的学生体认和感知中国传统文化的精神实质,才应该是我们找回学校武术教育在学校教育中主导地位的最强动力;那种只将中国武术看成学校体育教育的部分内容或者一个领域的做法,显然是不明智的。