浅析商业文化对影视审美文化的影响

随着商品经济的发展,商业文化已经渗透到生活的各个方面。文化、工业产品和商品已经紧紧地结合在一起了。文化从精英文化走向大众文化,而高雅文化与通俗文化、纯文学与通俗文学的距离正在消失,商业化的逻辑已经进入了人们的思维。主要通过分析中国影视发展的进程来阐释不同历史时期的商业文化对影视审美文化的巨大影响。     

解构李商隐《乐游原》“夕阳”之多义性

文章从诗歌本身所固有的质及接受主体的接受机制方面进行探索,力图结合文学、词汇学、心理学、接受美学等相关理论,多维地对夕阳之多义性进行独特的解构和阐释。     

论转型时期如何提升武汉地区旅游产业的核心竞争力

区域旅游产业的竞争,主要体现在区域旅游形象优劣的竞争。塑造良好的区域旅游形象,是增强区域旅游产业核心竞争力的关键。而良好的区域形象的塑造要靠大量的人才培养与引进。创造良好的旅游产业运行机制,是发掘人才、吸引人才的基础。良好的机制又是区域形象的重要表现。     

表象训练对体操教学效果的影响

根据体操教材内容特点与学生实际情况，将学生分成两组进行实验，对照组进行了常规教学，实验组在常规教学基础上实施表象训练（思维训练）。实验证明，表象训练的教学效果优于常规教学方法。     

中华武术美的本质

武术是中华民族的传统体育和优秀文化遗产。武术之美真实地再现了客观事物的运动与发展规律,显示出人类技击格斗和养生保健的主体意志,认识武术美的本质必须从其本质力量的理解和其内部真善美的关系着手。     

基于小波和生物视觉机制的感兴趣区域提取方法

提出一种基于小波并结合生物视觉机制的感兴趣区域提取算法,首先使用小波构建亮度、颜色和方向等3个特征的小波金字塔,然后使用中央—周边算法得到每个特征的关注图,对关注图进行迭代运算以进一步抑制不显著区域。对迭代处理后的显著图进行线性组合得到最终的显著图;使用WTA网络和返回抑制机制提取显著点,以显著点为中心进行区域生长得到最终的显著区域。实验证明,本方法在提取效果上较原方法提高了4.2%和效率上较原方法提高了28.75%,总体上较原方法有了明显改善。     

晚清时政及革命动员的镜像表达--《江汉日报》图像新闻研究

对晚清中国时局及革命动员的表达,有政论、小说、诗歌、戏曲、杂文等文学形式,但图像新闻却以艺术的形式,别具一格,在文化尚未普及的时代,成为呈现时政及革命动员的最直观、最有效、最锐利的武器。《江汉日报》的图像新闻,如同其所刊发的各类文体一样,自始至终,承担着反帝反清,宣传革命的使命;其报道的范围广泛,视野宏阔,高瞻远瞩,具有宏观性和全局性;其报道的主题主要集中在中国面临的局势、外国列强对中国的侵略与掠夺、腐败的封建专制制度以及文武官吏的百面丑态,具有鲜明的政治性。在策略上,运用立体的和连续的报道方法,增强舆论力度;在形式上,图像直指现实政治和现实社会,通俗易懂,具有直观性。其图像新闻大胆、泼辣、犀利,具有鼓动性、革命性和战斗性。     

An interview with Marie-José Mondzain: what is an image?

ABSTRACT

Marie-Jose Mondzain is one of the major philosophers writing about image, iconography, and representation today. In this interview, she discusses a few of the central ideas in her approach to and thinking about the nature of image and image-making as they bear upon the emergence of subjectivity and visibility in general. According to Mondzain, images are not visual objects we may or may not see; rather they are the site where the visible and its invisibility crisscross each other in opening the field of presence. Images, as Mondzain says in the interview, are cracks or leaks in being. They are where lights first come in and where man and beings are born to each other in their being-in-the world, that is, in their truth. Moving beyond historical and theoretical reflections, Mondzain turns to discuss things and scenes of mass media of late, addressing issues of pleasure, anxiety, desire, and the like, wherein ideologies, power, and the lure of images can be seen to intersect with our everyday life that has become irrevocably one of passive mobility. To the point at every turn, her answers to questions in this interview provide a glimpse to her forceful thinking and insights.     

Nations in shame and art’s shame: towards a radical politics of image and affect around “Okinawa”

ABSTRACT

This article first examines the resurgence of popular, semi-academic nationalist discourses that solidify the figures of “Japan” and “Okinawa” within post-1945 U.S.-led formation of nation-states across the Asia-Pacific. It critiques two discourses that are symptomatic of such a return to the figure of the nation: developmental economist Matsushima Yasukatsu’s thesis of “Ryukyu’s independence” and philosopher Takahashi Tetsuya’s call to relocate the U.S. military bases from Okinawa to mainland Japan. These symptomatic instances of the mutually transferential nationalisms in Okinawa and mainland Japan rely upon crudely culturalist assumptions about the self and the others and are thus surprisingly oblivious to how the very nation-forms have been instituted as part of imperial modernity. Their implicit figurations of the exemplary national subjects partake in the biopolitical assumptions as to whose lives must be “made to live” and “made to die” within and outside the border of the national. Ultimately, such nationalist discourses about Japan and Okinawa engage in a zero-sum exchange of imperial shame and colonial shame, a process that further stabilizes the co-operative placement of local nation-forms within the U.S.-led inter-state regime of warfare and biopolitics. But insofar as these discourses require the images of the nations that they seek to represent, their (re)production of what Naoki Sakai calls “a schema of co-figurative” nationalities needs to be critiqued through an exploration of a radical aesthetics and affect that pertain to image production.

The second part of the article presents my interpretation of artist Nema Satoko’s recent book of photography titled Paradigm, a work in which both bodies and objects explore their potential transformations in the midst of their precarious exposure to one another. I argue that Nema’s images of fragile bodies and objects in the present landscape of Okinawa are poised on the cusp between the past that invokes a sense of shame and this past’s potential future that necessitates an ethical posture of humility. In the vicinity of Adorno’s notion of “art’s shame,” Nema’s photographic images illuminate an amorphous realm of fragile beings, whose linkage and exposure to one another opens a space of viability that is obscured by the biopolitical imaginaries of nation-forms.     

对左右利手者的视简单反应时及空间方向识别能力的实验研究

本研究应用单侧视野速示技术对左右利手被试不同视野的简单反应时及空间方向识别能力进行测试与分析。实验结果表明,左利组在两项实验中的左、中、右视野上的反应时均快于右利组,且左利组在左视野上的优势最为显著。经分析发现:左利者优势手在操作速度上的优势主要是因其大脑右半球具有较高的分析处理形象信息的能力所致;左利者右脑的这种功能优势与其大脑神经传导过程的特点有很大关系。本实验为研究和培养左利手运动员提供了一些神经心理学方面的依据和参考。