谈全球化背景下民族民间文化的与时俱进问题

不同的文化具有可比性。在民族民间文化的保护和传承问题上,必须反对"凡是存在的就是合理的"这种相对主义倾向。中国传统民族文化只有与时俱进,才不至于被全球化所淘汰,才可能以民族的、科学的、大众的面貌立足于世界各民族文化之林。     

Swampwalls: dark matter and the lumpen army of art

Dominant notions of contemporary art are being overturned not by some radical avant-garde theory or movement, but instead by an “uprising” from within the confines of the “art factory,” as well as by newly embodied instances of informal everyday creativity that high culture has long overlooked. Theorists Negt and Kluge might have described this insurrection as the partial unblocking of a counter-public or proletarian sphere: a realm of fragmented identities and working class fantasy generated in response to the alienating conditions of capitalism. A more specific cultural interpretation suggests this mutiny from within and assault from below is the irrepressible brightening of “creative dark matter:” that marginalized and systematically underdeveloped aggregate of creative productivity, which nonetheless reproduces the material and symbolic economy of high culture. The results are explosive, or at least potentially so as this long, pent-up shadow archive spills out into the once forbidden dwelling place of mainstream law and order and high cultural privilege. Meanwhile, a new wave of socially engaged art is thriving on the margins of the art world. Like an enormous production warehouse this “post-public” creativity is developing sustainable farming, reenacting historical labor demonstrations, providing public services lost to decades of deregulatory economic policy, and initiating local bartering systems and environmental cleanups. Its vitality is something Joseph Beuys could have only dream about. And not surprisingly even this “autonomous” and “Interventionist” art is selectively becoming part of the mainstream culture industry through what Gilles Deleuze describes as an “apparatus of capture.” Nevertheless, one result of this new confrontation reveals this vibrant imaginary “from below” is pushing artistic production, pushing also discourse, pedagogy and cultural institutions into radically re-thinking definitions and possibilities not only involving the possibilities of contemporary avant-garde art practices, but also about the very nature of creativity, democracy, and political agency more broadly.     

Now wash your hands: uncommissioned art and gender

Examining the urban arts in the UK, in their paint and fibre-based alternatives, this article aims to account for the differences in contemporary dealings with graffiti and yarn-bombing (kniffiti). The intersectional complications of gender, race, age and class, as they have come to bear on the visual arts, as well as the historical power structures that have determined the classification of crime, and of art, are offered as possible rationales for present-day handling of ‘deviance’ in the form of urban art. It seems that urban knitting has blind-sighted both social conventions and legal principles in a way that exposes the arbitrary nature of both.     

关于民族民间传统文化保护立法的几个问题——以广西壮族自治区为例

本文以广西壮族自治区为例,阐述了民族民间文化保护立法的重要性和意义、立法的指导思想、立法的原则和主要内容。     

宋代民间物权关系的家族主义特征

中国古代民间物权关系随着各个时期宗族组织形式的演进而呈现不同的时代烙印.宋代宗族组织呈现了两极运动的发展趋向:民间宗族组织继承了唐末五代政治冲击后遗留的小家小户的分化趋势,而宋代在新兴士大夫阶级和皇帝提倡下又出现了聚宗收族的历史潮流.民间物权关系作为相应的法律映象也呈双向发展:小规模家庭成为民间物权关系的普遍性主体,其民事主体资格得到法律认可,表现为其私产处分权自由度的提升,而传统的亲邻优先权必然随之弱化;另一方面,族产作为重建宗族、维系族众的经济核心,法律亦相应增容了族产的形态类别并对其增强了保护力度.     

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。     

‘The dead are coming’: acts of citizenship at Europe’s borders

This article combines the research agenda of the acts of citizenship literature with reflections on emancipatory theatre. I examine the Centre for Political Beauty’s activity-based artwork ‘The dead are coming’ which problematizes the cruelties of the European border regime in symbolically charged spaces in the German public. Focusing particularly on the roles available to ‘actors’ and ‘spectators’, and the directionality of the message conveyed through the artwork, I examine how the performance subverts the ‘sites’ and ‘scales’ of citizenship. My analysis indicates that the artwork’s subversive potential emerges not only from the political vision conveyed by the artist collective, but also from the way in which others become involved in the performance. Acts of political beauty thus most extensively challenge instituted citizenship’s orientalist anchoring, reverse status-based role allocations and subvert the structural violence of borders when the performance enables the enactment of novel forms of political agency and solidarity.     

Reflexivity,participatory art,and the failures of monist representation

ABSTRACT

This essay engages in a dual-disciplinary theorizing of reflexivity as response to crises of democratic representation. We trace this crises through the parallel lenses of democratic theory and art history. As political theorists explore alternative representations of ‘the people,’ contemporary artists have developed their own responses to the crisis of monist representation. In both state institutions and in participatory art – and in the theorizing of both – we find the rejection of monist representations of ‘the people’ and the embracement of pluralist, partial, and proximate representations. These public reflexive spaces give voice to new, partial publics, and call attention to past and present exclusions.