魏晋南北朝碑刻文字的时代特征

汉字发展演变的各个历史时期都具有鲜明的时代特征。魏晋南北朝是汉字由隶书发展成楷书的重要历史阶段,该时期的碑刻文献真实地记录了汉字这一历史嬗变的过程。其文字特征表现出造字方法出现新的时代取向,楷书为主而众体相杂,笔划构件增减改换,假借衰落而代之以专字,字形同化讹混,其结果造成异体丛生。     

海峡两岸现代竞技武术的比较研究

采用文献资料法、专家访谈法、比较分析法、逻辑分析法等对海峡两岸竞技武术的发展史、管理机制与运行机制以及人才培养等方面进行比较研究,分析出两岸在上述方面的差异与共同之处,并客观的剖析出双方各自的优势与不足之处,去芜存菁,力求对海峡两岸的竞技武术交流成效的提升梳理出思路,也为竞技武术的国际性发展提供借鉴和参考。     

魏晋到隋唐佛像背光创作流变述考

佛教崇尚光明,认为佛的身体有种种光明,佛光在佛像中以背光的形式表现出来。佛像背光的宗教内涵与艺术价值都值得深入研究,我国魏晋到隋唐这段时间佛像背光的创作非常发达,通过对其发展演变的整理研究可以管窥佛教的像教意义及我国佛像制作发展的艺术历程。但目前对此尚无成系统的专门论述,选取此阶段有代表性的一些佛像背光进行比较分析,述其流变轨迹,以见其由最初的依据佛经为得福报而造背光,到以背光雕刻来扩大宗教宣传的影响,再到后来成为装饰性的纯艺术作品的发展过程。     

武术与民族传统体育专业招生考试改革中礼仪文化教育研究

随着国家教育强国战略的深化,优质生源的选拔已成为普通高校人才培养的关键,但在此过程中人们往往聚焦于人才选拔的质量,而忽视其考试教育与导向作用,致使形成了“重选材、轻育人”的招生考试模式。因此,在体育招生考试改革中实现考试育人的突破显得尤为重要,既能为前置教育发挥导向作用,又能为入学后的思想政治教育奠定基础,从而发挥出招生考试环节的育人作用与功能,实现全方位育人。虽然近年来武术与民族传统体育专业招生考试改革工作取得了一定的成效,但在改革过程中仍然存在着一些不足和尚未完善的方面。因此,在新时代背景下深化体育专业招生考试改革工作,积极拓宽改革思路与教育路径,已然成为该领域亟待研究和解决的重要课题。     

游戏化教学软件视觉审美

结合心理学相关理论,从界面布局、色调、情景、音效4个方面分析影响游戏化教学软件视觉审美因素,探讨视觉审美艺术游戏化教学软件设计中的运用。     

乾隆六游济宁太白楼、南池与御制诗文史料考论

乾隆帝沿京杭大运河南下,六次御驾亲临济宁州,登太白楼,赏游南池,御制诗文,缅怀李杜：御制太白楼诗歌6首,御制南池诗歌15首,并作《御书杜诗》文一篇,立南池杜甫《与任城许主簿游南池》诗碑,题济宁南池少陵祠＂荩臣诗史＂匾额一个。乾隆以帝王之特有视角,吟诗品评李杜劣优。以详实全面的史料文献为依据考证源流力图还原乾隆畅游济宁太白楼南池的本真历史和作为一代帝王乾隆情系南池杜甫的思古幽情。     

民国时期“中央国术馆”成立历史背景探析

1928年由张之江创办、南京国民政府批准成立的“中央国术馆”,是近代中国武术历史上浓墨重彩的一笔,对近代武术的发展做出了极大的贡献。“中央国术馆”的成立打破了中国传统武术封闭、狭隘的教育传承模式,是中国武术历史上划时代的分水岭。在它的成立过程中,社会形势的转变、社会尚武思潮、爱国人士的积极倡导等都对其产生了不可低估的推动力量。     

The social stratification of theatre,dance and cinema attendance

In current sociological literature the relationship between social inequality and patterns of cultural taste and consumption is the subject of a large and complex debate. In this paper the primary aim is to examine, in the light of empirical results from a research project in which the authors are presently engaged, three main, and rival, positions that have been taken up in this debate, here labelled as the ‘homology’, the ‘individualization’ and the ‘omnivore–univore’ arguments. Elsewhere, we have concentrated on musical consumption in England, and find evidence that is broadly supportive of the omnivore–univore argument. Here we ask whether such findings are confirmed in the case of theatre, dance and cinema attendance. A secondary aim of the paper is to bring to the attention of practitioners in the field of cultural policy and administration the need to address the issues that arise through the use of more powerful methods of data analysis than those often applied in the past. We explain how indicators of theatre, dance and cinema attendance derived from the Arts in England survey of 2001 can be subject to analysis so as to reveal two distinctive patterns of attendance and, in turn, two distinctive types of consumer—who can, it turns out, be regarded as omnivores and univores, even if with some qualification. The former have relatively high rates of attendance at all kinds of the events covered, including musicals and pantomimes as well as plays and ballet, while the latter tend to be cinema-goers only, that is, non-consumers of theatre and dance. A range of measures of social inequality are then introduced into the authors' analyses, including separate measures of social class and social status and also of educational level and income, and it is further shown that, again in conformity with the omnivore–univore argument, these two types of consumer are socially stratified. Omnivores are of generally higher social status than univores and also have usually higher levels of education and higher income than do univores (the latter finding marking the main difference with musical consumption, which was unaffected by income once other stratification variables were controlled). In sum, our results for theatre, dance and cinema attendance lend, overall, further support to the omnivore–univore argument as against its rivals, but also indicate that different aspects of social inequality impact on different forms of cultural consumption in varying degrees and probably through largely separate processes.     

Mask-making as identity project in a high school English class: a case study

This study reports on the composing process of one student, Peta (a pseudonym), as he reflects on a significant composition he produced during a unit on identity in a 12th‐grade English class in a U. S. high school. The unit was the first thematic exploration of the year for the students and was designed to help them think about themselves as readers, writers, and individuals. The teacher's goal was to have students' engagements with literary and artistic texts serve as vehicles for developing better understandings of themselves. The study demonstrates how students' engagement with more ‘traditional’ artefacts is essentially an example of multimodality and evidences why teachers and researchers should see such work as part of the long tradition of creativity within English. It also demonstrates how such an apparently ‘traditional’ artistic approach in fact covers the same territory as that of the digital revolution, that is that multimodal ‘tools’ engage all the cultural resources of students from their domestic, community and school settings, in contrast with much typical school activity that is perceived as pointless and tedious.     

五代起居制度的变化及其特点

起居制度早在秦汉时期就已经产生了。五代时期的起居制度虽沿袭唐制,但却比唐制更加繁复,其内容主要包括内殿起居、外官问起居、巡幸起居、外命妇问起居以及一些不定期的起居活动等。五代起居制度的最大特点是变化较大,起伏波动,废置无常,然亦有新创,如五日内殿起居等,并对宋代以及后世诸朝的起居制度产生了较大的影响。