警惕美国的经贸高压

迫于国会强大压力,布什政府很可能在对华经济政策上采取更加强硬的政策美国贸易谈判代表施瓦布4月9日宣布,美方决定将中国知识产权问题、出版物市场准入问题诉诸世贸组织争端解决机制。此前的3月30日,美国商务部公布了对中国出口的铜版纸产品反补贴调查的初裁结果,决定对中国适用反补贴税法,并开始对中国出口美国的铜版纸产品征收临时反补贴税。     

立体轮胎痕迹的数码照相提取

立体轮胎花纹多发现于各类案件现场,它可为寻找、认定涉案车辆提供重要线索和依据。通常对立体轮胎花纹往往采用制模法提取其特征,而照相法尽用于平面轮胎痕迹的提取。对一些立体轮胎印痕也可以采用已广泛应用于平面痕迹提取的数码摄相法进行提取,并进一步采用图像处理软件对其特征进行加强。实验表明:数码照相能反映轮胎痕迹的一部分重要特征,通过软件处理这些痕迹特征得到加强。     

为了满足文化消费

自东汉蔡伦造出“蔡侯纸”至今,已有一千八百多年的历史了。在这漫长的岁月里,纸在发展科学文化,传播先进思想,交流时代信息中,都起了重大作用。在现代社会,人们对纸的要求不仅数量上要多,而且质量要高。由于彩色印刷技术的发展,对铜版纸的需求量越来越大。     

论美国反补贴法对非市场经济国家的适用

20多年来,美国的反补贴法只适用于市场经济国家。中国以及其他一些被视为非市场经济的国家,更多时候是被当作反倾销的对象,一直与反补贴措施无碍。但2006年底,美国商务部宣布对原产于中国的铜版纸适用反补贴法,突破了＂反补贴不适用于非市场经济国家＂的定论,开启了美国反补贴法适用于非市场经济国家的先河。本文对美国反补贴法适用中国这样的非市场经济国家进行了一系列思考,分析了其不合理之处及合法化的途径。     

状态反射在武术套路教学训练中的价值探析

运用文献资料法、专家访谈、实践体验等方法，分析状态反射对武术动作学习与掌握的影响，指出科学合理的运用状态反射规律将明显加快武术动作的定型，提高武术动作质量。     

美对华反补贴动机复杂

美对华动用反补贴,经济因素之外还有着深刻的政治动机4月10日,美方将中国知识产权和出版物市场准入问题诉诸WTO争端解决机制。而这距美国发难中国铜版纸仅仅两周时间。美国时间3月30日,美国商务部长卡洛斯·古铁雷斯一纸对中国适用反补贴法的声明,标志着美国不对“非市场经济国家”出口商品征收反补贴税的判例正式终结,开创了美国对“非市场经济国家”征收反补贴税之先河。     

二次漫反射小偏角定向反射照明技术方法及应用

通过应用设计的二次漫反射小偏角定向反射照明技术方法,对光滑的透明玻璃、金属油漆、硬塑料、白瓷砖、透明塑料袋和透明胶带表面遗留的无色汗潜手印进行实验拍照,以及对实际案例进行应用拍照,可以发现,用这种拍照方法可以获得理想效果的手印。因此,二次漫反射小偏角定向反射照明技术对光滑客体表面遗留无色潜在手印拍照效果明显好于普通的小偏角定向反射照明技术。     

心的落点

冬季，如果人在茫茫的雪地上行走半天，就会有患雪盲症的危险。令人费解的是，即使你戴上墨镜，挡住阳光落在雪地上反射出的光亮，你仍不可避免地要患上雪盲症。     

撞击与反射——石家庄市经济体制综合改革纪实

石家庄市以搞活企业为中心的“撞击反射式”综合改革,引起了人们广泛的兴趣和重视。这组专题报道详尽地记叙了石家庄市怎样以“撞击”、“反射”来推动改革,以及“撞击反射式”改革的三个回合。     

国际风云变幻中的联合国

联合国专电 世界正在发生历史性的巨变。联合国作为世界代表性最广、影响最大的国际组织也处在变化之中。它不仅像一面镜子,客观地反映国际风云的变迁,同时,还反射出光芒,对世界局势产生影响。 今年的第43届联合国大会,气氛比以往任何一届都要融洽,协商     

Nazlı's photographic games: Said and art history in a contrapuntal mode

ABSTRACT

Through a focus on photographic portraits commissioned in the late nineteenth century by the Ottoman-Egyptian Princess Nazl? Han?m, Roberts analyses the ways they tested Ottoman and western conventions. An examination of Nazl?'s strategic engagement with photography in this period positions her within the often-separated domains of Egyptian nationalism, Ottoman political reform, western Orientalist art and a proto-feminist moment of Egyptian women's history. One of the striking things about the Nazl? portraits is their transgressive inventiveness. This is transgression as Edward Said defines it, with an emphasis on crossing boundaries, testing and challenging limits, and cutting across expectations. Nazl?'s inventiveness is apparent through her canny experimentation with the codes of portrait photography and the ways she deploys her portraits as tokens of exchange within her culture and with her European interlocutors. Roberts argues that Nazl? Han?m's use of photography operates in a contrapuntal mode in the Saidean sense of a simultaneity of voices that sound against, as well as with, each other. Over the last three decades Said's writings have provided a crucial methodological framework for the critique of western Orientalist visual culture. Recently art historians have repositioned this corpus of western imagery in relation to art by practitioners from the region and addressed cultural exchanges. Said's seminal text Orientalism has been pivotal within these debates. Yet it is not so much this landmark book, but rather Said's writings on music, in which we can find an alternative approach to cross-cultural exchange. By transposing this model into the domain of art history, Roberts engages with his notion of reading contrapuntally. Said was interested in the broader applicability of this term, although its potential as an interpretive model for the visual arts remains unexamined. Through this case study of Nazl? Han?m's photographs, Roberts reassesses the value of Said's writings on music for understanding nineteenth-century visual culture.     

Philosophy and the History of Art

Abstract

Schelling’s philosophy of art between 1801 and 1807 can be defined as metaphysics of art. The object of that metaphysics is to deploy the absolute as the being of art and of the arts. Schelling has been criticized on the basis that this metaphysics of art represses the infinite diversity of existing works of art, while overlooking concrete aesthetic experience. Based on Schelling’s definition of the “philosophical construction” of art as an inseparably speculative and historical construction, the aim of this paper is to challenge such assertions. It will show that “historical construction” has to be understood in a twofold manner: first, as a transcendental history of the absolute’s artistic individuation and second, as a cultural history of both the ancient and modern worlds of art. Working within this twofold setting the paper argues that Schelling’s systematic approach, while exhibiting a unifying force, still remains open to the otherness of the real.     

The Public Eye and the Citizen-Voyeur: Photography as a Performance of Power

This paper argues that photography is best grasped not as a medium of visual communication, but as a manifest performance of the power to make visible. As such, photographic practices are central to the experience and demarcation of private/public boundaries in advanced media cultures. In the private domain, photography is both a ritualized domestic activity and provides conventional and definitive representations of the domestic. These functions are ostensibly opposed to photography's role in the public realm: the same visual technology becomes, in the mass media, both the index and agent of publicness itself, with the paparazzi?especially in the aftermath of Princess Diana's death?symbolizing the violation of the private. The paper explores the ways in which photographic performance at the public/private boundary dramatizes power relations through forms of social transparency, voyeurism and memoralization. It also asks whether momentary crises in the dominant scopic regime can provide the basis for alternative ‘uncanny’ visual practices that are tenable and empowering.     

Visualization of “people” in Soviet Estonian public photographs of the Stalinist era

The main purpose of this article is to elaborate some conceptual tools for clearer analysis of social reality, power relations and their visual representations. One of these instruments through which power relations are established in society is photography. The paper focuses on different strategies by which, in photography, the “people” are constructed as a homogeneous whole of specific historical self-reflection of culture. The first part of the paper discusses the relationship between the theory of hegemony as elaborated by Ernesto Laclau and the semiotics of culture of Yuri Lotman. The ground for believing this incorporation of the two thinkers to be successful is the very apparent theoretical congeniality between them. They both belong to the Saussurean ontological terrain. The second part of the paper tries to develop a bridge between the given theoretical framework, especially Laclau's concept of empty signifier and Barthes's concepts of studium/punctum, and “iconic photograph” from visual rhetoric. I will distinguish four hegemonical strategies of signification: visual naming, dominant text, code text, and dominant language. The analysed material is taken from Stalin-era soviet Estonia's newspaper and magazine photographs.     

加强高职院校文化艺术教育的若干思考

切实加强大学生文化艺术教育，是全面推进素质教育、促进大学生全面发展和健康成长的重要途径。本文在简要分析高职院校文化艺术教育现状的基础上，论述了高职院校开展文化艺术教育的作用和意义，进而提出了加强高职院校文化艺术教育的策略。     

通识教育体系中的美术欣赏课程设计

本文分析了目前美术欣赏课程教学中存在的问题,提出将通识教育的概念引入美术欣赏课程。笔者从课程内容与结构、课程教学形式与方法等不同方面重新设计课程,结合文学、历史、科学、本土文化等诸多相方面相关知识,运用个性化的教学形式、生活化的教学环境、多样化的教学方法,力图创建适应于高等学校通识教育体系中的美术欣赏课程,促进大学生素质的全面和谐发展。     

论铁路犯罪现场摄影

铁路刑事案件主要是指发生在铁路公安机关管辖的铁路站场、列车、线路空间范围内的各种犯罪。由于在案件构成上具有一定的特殊性，铁路犯罪现场摄影应该根据铁路犯罪现场的属性来系统地记录现场状况。认识铁路犯罪现场的重要性和特殊性，是搞好铁路犯罪现场摄影的内在要求。铁路犯罪现场摄影特殊性主要是在拍摄铁路犯罪现场照片过程中，如何结合铁路犯罪现场构成的特性以及铁路犯罪现场存在、处置的条件和专业要求等来做好现场摄影工作。铁路犯罪现场摄影应按照及时、全面、客观、细致的要求来完成。     

抗战文艺运动述略

抗日战争爆发后党所领导的文艺运动呈现出新的时代特点.围绕"抗战"主题,与民族解放运动同步发展,运用文艺形式进行抗日救亡宣传成为抗战文艺运动的中心内容.探讨抗战文艺运动,得出的结论是:文艺不能脱离现实,文艺必须宏扬时代的主旋律、文艺不能没有党的领导.     

Do consumers know enough to assess the true value of art? A study of beliefs and attitudes toward the NEA

Contemporary society tends to ascribe economic value to works of art, often neglecting the inherent cultural and social value of art in favor of an aesthetically driven conceptualization of “value.” The largest single financial supporter of nonprofit arts and arts education in the United States—the National Endowment of the Arts—is charged with supporting arts of all types, and not just those that the general public decides are of aesthetic or monetary value. This paper compares how the government of the United States funds nonprofit art initiatives through the National Endowment of the Arts, with how members of the American public perceive the importance and value of art being funded. It provides evidence of beliefs held by the general public about the inherent role and value of the arts in contemporary society. It also offers suggestions for how marketing principles and techniques might be engaged to reduce gaps in the public's knowledge about the arts.     

Colouring Philosophy: Appel,Lyotard and Art's Work

Abstract

Colour plays a fundamental role in the philosophical treatment of painting. Colour while it is an essential part of the work of art cannot be divorced from the account of painting within which it is articulated. This paper begins with a discussion of the role of colour in Schelling's conception of art. Nonetheless its primary concern is to develop a critical encounter with Jean-François Lyotard's analysis of the Dutch painter Karel Appel. The limits of Lyotard's writings on painting, which this paper will attribute in part to Lyotard's "empiricism", becomes most apparent in his treatment of colour.