论摄影瞬间中情感与理智的美感凸现

摄影的艺术形象是瞬间捕捉而成的，在创作过程中从艺术构思到艺术表现，往往是极其短暂的，特别在纪实性和时间限定性方面与其它艺术门类有着鲜明的区别。在摄影创作的瞬间中平衡好理智与情感关系，使理智和情感同步发展和深化，才有可能创作出优秀的摄影艺术作品。     

Managing Autonomy: Analyzing Arts Management and Artistic Autonomy through the Theory of Justification

Arts management has commonly been analyzed as a microcosm of the art field, in which struggles between artistic, economic, administrative, and societal considerations are constantly being fought. Using the field theory of Bourdieu, scholars have attempted to uncover levels of functional differentiation within arts organizations, and interpreted differentiation between artistic considerations and economic and administrative considerations as a core element in defining the artistic autonomy of such organizations. In this article, I present an alternative approach to the interpretation of artistic autonomy in arts management. Through the stories of three artistic directors and the way in which they run their theatres, I aim to show the theory of justification (developed by Boltanski and Thévenot) and shed new light on the interpretation of arts management, as well as on the understanding of artistic autonomy more generally.     

德国法律对艺术伪造行为的规制——兼与我国相关法律的比较

对艺术伪造的理解在德国有广义和狭义之分.广义的艺术伪造包括艺术模仿、艺术篡改和艺术诈骗.狭义的艺术伪造则与广义的艺术伪造中的艺术诈骗是一致的,都与被署名人的作品无关.不过,从德国法律适用的角度看,艺术伪造主要分为两类:一类是与被署名人作品无关的艺术伪造；另一类则是与被署名人作品有关的艺术伪造.对前者的认定不是依据德国著作权法,而是依据其他法律；对后者的认定则是依据德国著作权法,同时德国刑法有关规定对此亦可适用.与我国法相比,德国著作权法更强调以作品存在为前提来保护作者的著作权.另外,对与被署名人作品有关的艺术伪造的规制,德国法律严于我国.     

典型理论与周扬戏曲观的政治化

典型理论作为马克思主义文艺理论的重要内容,原非针对中国的戏曲艺术而提出.由于受苏联文艺思想的影响,中国共产党的文艺工作领导者周扬将典型理论吸收到戏曲理论中,形成了其政治化的戏曲观.周扬的戏曲典型理论不仅导致了中国戏曲理论民族性的迷失,而且致使戏曲创作越来越失去其本质要素,戏曲呈现话剧化的发展趋势.     

写心之旨·自传之意·小品之格——徐燨《写心杂剧》的转型特征及其戏曲史意义

清代乾隆年间徐燨创作的《写心杂剧》,在杂剧史上是一部具有"范式"意义的作品.其体制形态上由"代人立言"到"自我登场"的转变,改变了以往杂剧创作追求"自喻"的表达方式.通过自我抒情言志和高扬主体精神的"写心"作法、因自传性艺术演述凸显出来的特殊意味,以及与晚明小品灵动自然、清新隽永之艺术格调的同构对应等,都充分显示出《写心杂剧》既徘徊于雅俗之间,同时又为普通文人提供了特殊的话语空间的艺术价值.     

Strategic Decision Making in Arts Organizations

Despite the growing economic and cultural importance of artistic institutions, relatively little is known about how aesthetic concerns and the demands of artistic production influence administrative roles. In this article, we investigate the strategic decision-making process in a varied sample of Canadian arts organizations, concentrating on the issues that emerge as crucial for the organization and the individuals and groups that participate in the decision-making process.     

绘画超常儿童艺术思维过程个案研究

本以个案研究法，探讨了绘画超常獐的艺术过程。认为，艺术思维过程分为知觉，反省，制作三部分。短觉的结果形成知觉概念；反省的结果形成策略；制作的结果形成再现概念。绘画超常獐之间存在显的个别差异，发展前景受多种因素影响，其早期表现并不必然导致成人之后的卓越成就。     

中国新生代电影后期创作转型论

1999至2005年,中国新生代电影后期创作在艺术立场、创作理念和表现内容等方面发生了改变,坚持聚焦社会底层人士生存世相的艺术视角,多侧面表现中国现代化过程中普通人的精神风貌与心理诉求,并对文化价值、生死、信仰、贫困等问题作哲学层面的深度思考,从而实现了对主流意识形态的皈依.后期新生代电影创作努力在艺术个性和市场价值之间求得平衡,完成了由个人艺术形态向主流艺术形态的令人瞩目的转型.     

著作权正当性的危机与出路

在著作权利益集团主导的著作权体制下,著作权成为直接控制消费者的工具以及创作自由与网络技术发展的障碍,从而造成著作权侵权成为一种常态社会现象的危机。只有坚持每一种新生的著作权客体与权利都经过充分的正当性论证、构建以维护创作自由与网络技术发展以及不以消费者为直接控制对象的权利与权利限制制度,才能使已经发生或正在发生的对著作权正当性的偏离得到回归。     

警务战术的本质、知识生成与运用

根据“战术”所固有的前提——博弈，只有在实战警务中才存在“战术”。警务战术是由警务战略统御的、直接左右局部实战警务行动成败，集科学性、技术性、谋略性、艺术性于一身的方法。警务战术知识要达到本然的科学性，即客观性、可靠性、有效性，应实现认识论、系统论指导下的范畴化和体系化，特别是采用集中体现科学主义精神的实证主义方法。警务战术的运用过程应符合实践一般决策过程的原理、原则、规则、程序，并保持自身的特性和特点。警务战术运用的过程范式是：收集信息、筛挖信息；情势研判、做出决策；精心部署、认真实施三个环节。     

追续权的理论基础和制度构建

追续权是作者在艺术作品原件被再次出售中分享一定数额收益的权利。追续权保护是适应艺术品市场的发展需要并平衡作者和艺术商之间的利益冲突而创设的一项著作权法律制度。它以民法中的非常损失规则为理论依据,符合公平、效益的法律价值,体现了对著作权权利穷竭原则适用的限制。追续权制度在我国著作权立法中的缺失势必产生诸多的现实缺陷,因而应当在我国未来的著作权法修订中增设追续权条款。     

康德与黑格尔审美理想辨异

审美理想决定着人类艺术活动的方向 ,有着重要的理论意义 ,但国内学术界对审美理想 ,特别是对康德、黑格尔审美理想的不同 ,缺乏研究。该文辨析了康德、黑格尔的审美理想 ,指出二者分别代表了象征型艺术和古典型艺术所达到的理想境界 ,是不应混淆的两种艺术理想 ,以期帮助人们建立合理的艺术至境观 ,以科学、合理的态度对待不同艺术的发展     

与伦勃朗对话

西方现实主义大师伦勃朗,一生波澜起伏的人生遭际,对他艺术的创作产生重大的影响。笔者试图分析大师的人生变化,揭示艺术的真谛,对他的人文思想、技法特点及自画像进行艺术剖析。     

Artists in an Iron Cage? Artists’ Work in Performing Arts Institutions

This article discusses artists’ work in performing arts institutions in Norway. Many scholars describe Nordic performing arts institutions as slow-moving and heavy “art factories,” where artistic creativity is almost suffocated within bureaucratic “prisons.” The general problem that we raise in the article is whether this pessimistic picture of the relation between state control, market influence, and artistic work is relevant for studying the performing arts today. The study is primarily based upon twenty-seven qualitative interviews with informants in an institutional theatre and a symphony orchestra. We conclude that the actors in the Theatre are trapped—not so much within “a bureaucratic iron cage”—but rather within “an iron cage of charismatic leadership,” while the musicians in the Orchestra enjoy the relative freedom and democratic power of a rather soft bureaucratic organization.     

Financing the Arts: The Consequences of Interaction among Artists,Financial Support,and Creativity Motivation

The authors analyze how different financial modes matter to the creativity of artists—whether they facilitate or interfere with the creativity that leads to artistic achievements. They first discuss the importance of the creative process and the various factors involved—personality characteristics, environmental factors, and motivation patterns. They next distinguish and analyze the nature and rationales of various modes of financing the arts, dividing these modes into government, the market, and the third sphere. Finally, the authors analyze the interrelations among the creative process and financing when applying a social support system. The investigation thereof relies predominantly on earlier work in the field of cultural economics. The results of a survey conducted among Dutch visual artists form the empirical basis of this article.     

The Copyright Royalty Tribunal: New Arena for Communications Industry Confrontation

Drawing from in-depth qualitative research of poetry communities in New York City and Toronto, Canada, and grounded in theories of gift relations and Bourdieu's conception of fields of literary production (1996), this article argues that the sustainability of the arts must include visions of sustainability that extend beyond the economic if they are to be true to the internal experience and definitions of fields of artistic production. This article argues that relations among poets can be understood as exemplars of a gift economy and that these gift relations among poets contribute to the sustainability of this artistic field and career. A model of how gift relations are patterned among poetry communities is proposed to more clearly articulate the patterns of this process.     

Economics and Law of Works of Art in the Single European Market

This paper is concerned with the economic analysis of the European rules on the circulation of works of art. After reviewing the relevant literature, an economic framework of the international circulation of works of art is provided (social goals, efficiency and distributive aspects, an economic rationale for a general free trade rule integrated by selective protectionism). Using this framework the European system of circulation of works of art—resulting from the combination of the Maastricht Treaty with Regulation 3911/92 and Directive 93/7—is analysed. The main results of the analysis are: 1) the general free trade principle ruling the Single European Market is strongly limited by rules protecting national artistic heritages of member states; 2) this protectionism—working towards countries both outside and inside the European Union—is applied according to the national laws of each member state, while, contrary to what the Maastricht Treaty would call for, an artistic heritage of European significance is not defined and no autonomous role is recognized in this field to European Institutions; 3) this system shows some inconsistencies with economic theory, as strict limits to trade are not provided when they should be required by the preservation of the physical or artistic integrity of works of art, while in other cases an unduly restrained trade may derive from highly protectionist national laws and export-licencing policies of member states. Enforcement provisions are also analysed and some proposals to improve the system are advanced.     

美国的建筑作品版权制度及对我国的启示

同一般实用艺术作品一样，建筑作品也兼具艺术性和功能性，但其也具有不同于一般实用艺术作品的特殊性。在美国，自1990年建筑作品版权保护法出台之后，建筑作品成为单独的一个版权客体种类，建筑作品从实用物品和可分离性标准中解放出来。     

论鉴赏、借用作品中的保护作品完整权

保护作品完整权作为著作人身权的核心,隐含了一个前提,就是作品的形式与内容是由作者赋予的,因此对作品的理解与利用应符合作者通过作品表达出来的精神与意图,否则就是歪曲、篡改,这是明显的作者中心主义.但实际情况并非如此,当代,文学艺术鉴赏中的作者中心主义已然淡化,作者通过作品的精神表达与对作品的意义赋予已经不再重要;在利用作品中,借用作品是创造自由的表现,不能冒然认定为歪曲、篡改.所以行使保护作品完整权时,有必要考虑文学艺术鉴赏与创作理论的内容.     

论追续权制度在我国的构建———以 《著作权法》第三次修改为中心简

追续权是艺术家及其继承人就其艺术品原件的再次销售获取一定比例收益的权利。这一制度源于法国，是艺术创作国家赞助体系衰弱的产物。追续权制度的正当性基础在于鼓励创作，以及作者名声的提高导致艺术品的增值。追续权制度具有鼓励艺术创作、丰富艺术市场的生产性功能，也具有对艺术商所获得的转售艺术品原件的收益进行分流的结构性功能。客体、主体、计算基础及比例、适用的场合构成了追续权制度的内部法律构造；知情权与集体管理制度构成了追续权制度的外部法律构造。比较法上的实证数据表明，追续权制度不会对艺术品拍卖市场造成扭曲。目前世界上80多个国家规定追续权制度。从我国目前的艺术品拍卖市场前景看，我国著作权法实有引进该制度之必要。