自我拯救与自我毁灭——浅论《红字》中的罪与罚意识

本文通过对文中海丝特·白兰与丁姆斯代尔各自罪与罚的探讨，进一步阐释作品主题，同时从另一个侧面去理解作者的思想体系与创作心理动机。     

Six into One: The Contradictory Art School Curriculum and how it Came About

This article reports historical research which sought to understand the present‐day post‐secondary art curriculum through analysing its history in terms of changes in conceptions of art. It found that there have been six distinctive curricula: Apprentice, Academic, Formalist, Expressive, Conceptual and Professional. As a new curriculum has been introduced, it has co‐existed with much contained in a previous one. Most of the curriculum changes have taken place in the past 65 years. During this time, there has been a massive expansion in the education of artists and at the same time art schools accommodated first modernism and then post‐Duchampian aesthetics. A conclusion is that this has made for a very crowded curriculum. Moreover, despite there being an ever increasing choice of things a student might learn, it appears that there is nothing which all students have to learn. It can be problematic that one part of the curriculum is in contradiction to another part, and moreover this lack of a core raises fundamental, ontological questions about what art as a discipline is.     

情感基础上的中西融合——李长之传记批评法研究

在中国现代文学批评中,李长之的传记批评法独具特色,其中既有远承古典传统的象喻式批评法,又有西方理论影响下的文本细读、心理分析和社会历史批评法。在由作品分析而深入到作者及其时代考察的过程中,李长之始终强调情感体验的重要性,这也是其研究方法能够成功融合中西的关键所在。     

‘Before I realised they were all women… I expected it to be more about materials’: Art,Gender and Tacit Subjectivity

This article discusses a critical discourse analysis research activity undertaken with a group of undergraduate primary trainees with an art specialism. The research activity involved the use of two contrasting texts discussing the work of Karla Black, Becky Beasley and Claire Barclay. The article explores how the positioning of the two texts affected the student teachers’ ability to engage effectively with ‘women's art’ on a personal and critical level, revealing some highly subjective views and raising questions around intertextuality; particularly how an individual's understanding of contexts, meanings and histories can inform collective interpretation and highlight existing subjectivity. The article subsequently identifies that although students were keen to talk about careful selection of texts, the benefits of using multiple sources and the risks of intertextual and ‘subliminal’ contamination, they were unable to reflect critically upon their own gendered reading of the texts. It concludes that this may well be a signifier of the problem – that the student teachers did not really see a problem at all.     

浅析艺术设计专业生产性工作室实习的模式

艺术设计专业生产性工作室实习模式是指在学校建立面向市场的企业型艺术设计工作室,让学生按计划到工作室进行生产性实习,提高学生的实际设计能力和水平,这是适应社会需要的一种面向市场的校内实习模式。该模式能较好地解决目前艺术设计专业学生不能适应市场以及实际操作能力差的问题,并且还能使艺术设计专业培养的学生毕业后直接参与实际设计,从而形成学生较高的实际设计能力和应用水平。     

渐江绘画艺术形式对安徽建筑景观设计的启迪

渐江曾生活于现今的安徽地域,对安徽的人文风貌在其画作中描绘了许多。渐江的绘画画风笔墨严谨、格调简约,对描绘的自然景物高度概括,虽然用墨偏淡,但不显虚空。画面形式具有现代设计学的韵味,构图独特。这种当时的新视觉形式,不仅影响了中国的山水画,而且也给安徽建筑景观设计在形式和意境方面带来了影响和启示。     

李祁散文研究

李祁是元遗民重要代表,其散文创作文体多样,数量丰富。他的散文继承《风》、《骚》传统,反映人心世道,同情民生疾苦,抒写自己忠于旧朝的儒家君臣大义观念。李祁的散文真挚感人,有着自己独特的艺术风格,并成为元末丧乱时代的折射。     

艺术设计的诗意走向何方

艺术设计的诞生是工业社会下生产的产品、人的生活用品的诗化过程。     

青虚中的缪斯舞姿--论我国当代网络诗歌的创作艺术

我国当代网络诗歌蔚为壮观,创作上除继承了网络出现之前的中外传统诗歌的经验,在题材选择、遣词造句、谋篇布局、风格色彩等等艺术构思方面又显示出自己的独特之处,既更具有强烈的个性化色彩,更注重下意识的挖掘,更强调表现复杂的内心世界。     

文学翻译与语言文化

文学翻译是一门艺术，作为一名翻译工作者，既要熟练掌握驾驭母语和译作语言的技巧，又要具备一定的民族文化紊养。用文学语言翻译文学语言，用形象翻译形象，使译文读者和原作读者同样感受到文学作品的艺术感染力和丰富的想象力，同样获得审美上的愉悦和欣赏的共鸣。