The Ephemeral,the Essential and the Material in the Conservation of Contemporary Art: Decision-Making for the Conservation of a Work of Art Made with Butterfly Wings

This article presents the intervention process carried out on a work of art created by artist Yolanda Gutiérrez Acosta, using a series of ephemeral materials such as butterfly wings and agave thorns. The work, an installation from 2002, is entitled ‘Efímeras’ (‘Ephemera’) and consists of 12 flowers mounted on acetate sheets and attached to the same with vinyl acetate copolymers and acrylic acid esters (Mowilith®). These flowers are installed on the floor in a bed of dried flowers. The conservation of contemporary art can lead to some previously unimaginable problems for restorers. Current works of art are somewhat material in nature, but they also have a conceptual dimension that is essential for their artistic interpretation. The artist’s participation in the decision-making process prior to the restoration was quite useful. The passage of time, its effect on the work, and the need to understand the possibility of the demise and destruction of the work were implicit as of the onset of its creation, such that, according to the artist, we are forced to reflect upon the possibilities of its future state.     

复旦大学图书馆数学类英文图书引进及保障数据集

运用引文分析法,选取国内外高校使用的数学类经典教材所引用的参考文献,并对这些参考文献中的英文图书进行引文量统计。继而分别对复旦大学图书馆及CALIS中心数学类英文图书的保障率进行排查检索和测评。共有引文记录10519条,去重后共计8166条英文图书书目信息。本数据集可以对目前我国高等院校图书馆的专业学科类英文图书资源引进和利用提供有效评估和国际参考。     

近代与当代小报话语之转变——以兰州市小报为例

晚清民国时期，中国的小报繁盛。小报不论是在发行量上，还是对整个社会的影响力方面都起到了当时大报不可取代的作用，而当下小报不仅种类繁多，而且在发行、销量、社会影响方面也越发呈现出不俗的表现。在这两个阶段中，小报为什么能够在强势大报中争得自己的一席空间，原因在于小报在整个报业产业中，以其独特的发声方式，有别于主流大报的话语...     

Creative Potential within Policy: An Analysis of the 2013 English Literature Curriculum

This article takes as its focus Lefebvre's trialectic of conceived, perceived and lived spaces as a lens through which to scrutinise the 2013 English Literature Curriculum, and to explore the extent to which creative spaces might exist within that curriculum. The article analyses how the curriculum is envisaged by policymakers and how it might be expected to be translated into practice, utilising the wording of the policy document to facilitate an exploration of what its underlying intentions might be. The author's experience of teaching a poem from the new curriculum is used in order to provide illustrative examples of the ways in which teachers’ and learners’ experiences of the curriculum might, in practice, diverge from the direction envisaged by policymakers as teachers negotiate creative spaces within their classrooms.     

比较文学中的思维模式和文化差异

本探讨中西方化差异的本质原因在于中西方化创造主体的思雏模式上的差异。并从比较学向比较化的方向发展的角度，察看思维模式和化差异的关系在这个发展过程中的意义。     

传统概念问题的当代形式逻辑剖析

尽管传统形式逻辑在概念问题上不研究大于1的n元名词而只研究仅占n分之1的1元名词，可是在这n分之1的研究中仍然存在着不少缺陷。譬如，关于概念的定义至今仍不能自圆其说；有些概念种类划分不合理；给概念内涵下的定义产生歧义；给普遍概念下的定义过宽；等等。传统形式逻辑是真正的逻辑科学，我们剖析的目的是深深地切望传统形式逻辑深刻正确的主导思想和久胜不衰的理论成果得到发扬光大。     

The Artist Initiative at San Francisco Museum of Modern Art

The Artist Initiative at the San Francisco Museum of Modern Art (SFMOMA) is piloting models for increased collaboration between conservators and curators through joint work with artists. We seek a more integrated, holistic approach to the care and research of our collection. The project, funded by the Andrew W. Mellon Foundation, comprises five robust research engagements that serve the curatorial collecting departments of the museum (Photography, Painting and Sculpture, Media Art, and Architecture and Design). Three of the projects are monographic studies, examining the work of Ellsworth Kelly, Vija Celmins, and Julia Scher in depth, while two more are thematic, exploring modes of displaying digitally-driven design objects, and developing strategies for addressing the problem of color shift common to photographic prints made with experimental materials during the 1970s and 1980s. The Artist Initiative is also charged with developing hybrid working spaces to advance collaborative approaches to collections research at the museum's new downtown campus and at SFMOMA's new Collections Center in South San Francisco. These spaces include the Collections Workroom, a 56?sq?m (600?sq?ft) space that functions as a studio for visiting artists, a conservation laboratory, an interview suite, and a classroom at SFMOMA's downtown campus. At the Collections Center, a 121?sq?m (1300?sq?ft) Mock-Up Gallery has been built as a working model of one of the museum's new galleries. A functional exhibition space, the Mock-Up Gallery is also a venue for interviewing artists, prototyping exhibition formats, and meeting with students, scholars, museum staff, and community members. With the goal of contributing to critical discourses in contemporary art history, art conservation, and public engagement, each of the Artist Initiative projects includes a colloquium that will bring experts from multiple fields together with the featured artists. Thereafter we aim to share our findings widely through public programs and a range of publications, both digitally and in print.     

The future is not what it used to be: Changing views on contemporary color photography

Attitudes and approaches toward the collection, use, and care of color photographs have evolved enormously since the official arrival of commercially viable color photographic processes in the early twentieth century. This article traces the evolution of collection, exhibition, and preservation practices for works of art in color photography over the last few decades, as represented by one institution, The Metropolitan Museum of Art.     

关于文学艺术本质与特征问题的再探讨——与董学文、马建辉、李志宏等同志商榷

针对董学文等同志认为“把文学简单界定为一种意识形态,并不是马克思主义创始人的原意”;“说文学的本质是一种社会意识形式……可能更贴切些”;“用‘呈现在语言中的审美意识形态’来界定文学是欠妥当的”等观点,论证了把文学精确地界定为意识形态,就是马克思主义创始人的原意;把文学界定为“社会意识形式,”就会掩盖文学本质属性中的主导方面;“审美意识形态”比较全面准确地概括了文学的本质与特征,是对马克思主义文艺理论的继承和发展。