荀子政治思想及学术成就

荀子是儒家的早期代表人物之一,同时又是一个吸收各家思想的"杂家"——先秦思想集大成者。其学术思想杂成,特别是其中所呈现出的"儒法合流"的特质,丰富了中国传统政治思想的内涵,其不少主张和实践对后世教育与政治产生了颇为深广的影响。     

新世纪郭沫若研究新论

郭沫若是20世纪中国最有争议的文化名人之一。我们认为,郭沫若在中国现代历史上不可替代的位置毕竟不是作为道德家而确立的,从早期新诗创作到40年代的历史剧,互渗的思维方式和热衷于仪式的表现始终贯穿于郭沫若的精神结构之中。这既赋予了郭沫若“别有天地非人间”的天才灵感,也导致了他创造力的最终枯竭。从这个角度出发考察郭沫若的创作,有助于我们对郭沫若形成新的整体认识。     

礼仪教育与大学生人格完善探析

礼仪教育是构建和谐社会的重要组成部分,对大学生的人格完善起着举足轻重的作用。礼仪教育可以成为道德教育的有效载体,以其特有的温馨弥补了法律的刚性和无情。探讨礼仪教育的实施途径与方法有着十分重要的现实意义。     

礼制与致仕制度

致仕制度是古代行政管理制度的重要组成部分。有关致仕的规定基本上是源于礼制,由于礼制不是法制,所规定的老、病、忠、孝等原因的自请致仕,仅是一种道德行为,不能规范社会政治制度,所以需要法律的强制力予以保障。在以礼入制、以礼入法、以礼入政的前提下,致仕制度逐渐向法制化转变。由于受到礼制的制约,致仕制度的法制化进程非常曲折,而在行政包揽一切和“人治”的情况下,致仕制度最终没有完成法制化。     

中国仪式艺术研究综述

中国仪式艺术的研究深受西方人类学艺术研究的影响,但发展进程相对滞缓,基本与中国人类学界的艺术研究同步。其研究发展历程大致可分为两个阶段:20世纪80年代前为仪式艺术研究的发端阶段,成果多见于调查报告中;20世纪80年代至今,大量的西方人类学理论被介绍到国内,仪式艺术的研究方法、对象和路径都向多元化发展,著述颇丰。     

Profit rather than politics: the production of Lenin monuments in Soviet Latvia

The archived documents on outdoor sculpture commissions in Soviet Latvia reveal that the thesis of art having been colonized by the Communist party is too simplistic. Sculptors and architects had vested business interests in monument production. Until the mid-1950s, the cream of academically-educated Latvian sculptors was sidelined by Russians who mass-produced concrete replicas of statues portraying Lenin or Stalin. The majority of the works came through the mass production of works of visual propaganda in the Māksla art factory. Also, less-talented local sculptors were able to find a role satisfying the demand for cheap, decorative sculpture. Looking for ways to access this market, the local art elite invented aesthetic and semiotic arguments in support of the original, locally-made, Lenin sculptures that would be cast in permanent materials and could serve as the spatial organizers of new communist rituals in the urban environment for which they won municipal commissions resulting in the reconstruction of central squares in Latvian towns. What this means is that artists driven by their mercantile interests and not by ideology played an active part in elaborating the aesthetics of communist ideology, and therefore provided support for the dominant discourse of power relations.