Judith Scott’s What is Property?: an inquiry into principles of dependency,propriety, and self-possession of an “outsider” artist

The essay addresses the politics of biography in the interpretation and reception of “outsider artist” Judith Scott’s work. Drawing from feminism, disability studies, and Alexander Kluge and Oskar Negt’s History and Obstinacy (1981) and its political economy of labor power, the essay proposes a new method of analysis which would foreground Scott’s work as a mode of institutional critique. Kluge and Negt ask “Can capital say ‘I’?.” The essay argues that Scott’s work compels a concomitant questioning of this “I” and the very terms of biography, authorship, and ownership that undergird the myths – and the institutions – of the “outsider” and her “art.”     

A Life in Pictures: Looking for Elizabeth Senior

This essay follows the author’s search for forgotten art historian Elizabeth Senior (1910–41). Using a quest narrative, it traces the process undertaken to piece together the life story of a remarkable young woman, including Internet research, visits to archives and correspondence with family members. Killed at just aged 30 by a bomb during the Blitz in 1941, Senior left a quite substantial body of editorial work and writing. Editress for the inaugural volumes in Allen Lane’s King Penguin series, Senior also wrote multiple reviews for the Burlington Magazine and the British Museum Quarterly, as well as her own art historical books on portraits of Henry VIII and his wives, and on portraits of Christ (co-authored with Ernst Kitzinger). A collaborator and friend to many Jewish émigré art historians, including The Story of Art author Ernst Gombrich, Senior played an important role in facilitating the safe passage of many fleeing the Nazis for England in the 1930s and 1940s. Unmarried at the time of her death, Senior was survived by a 10-week-old baby, whom she had stashed under a table for safety when a bomb landed on her flat.     

The Connotation and Logic of Embellish and Vilify in the Seventeen Year’s Literature Critic

Embellish and vilify is a normal standard in the seventeen year's literature critic. Embellish often means mistakenly embellishing the figures of the bourgeoisie, petty bourgeois, the feudalism and the Kuomintang reactionaries and US imperialism in literary works. On the other hand, vilify indicates vilifying the figures of peasant mass, soldiers of PLA, the CPC members and the new society etc. Firstly, the distorted embellished and vilified criticism exerts important effect on literature itself and the certain scope of writing is disciplined; therefore literary narration becomes a type of “passive narration”. Although the embellished and vilified criticism is against the historical and art reality, from the logic of politics, its application has certain sense of inevitability and rationality. Secondly, there exists logic in aspect of national cultural psychology. Finally, there is logic of emotion. The criticism pattern of embellishing and vilifying still has real warning function in the existing literature criticism practices.     

艺术:情感本体的物态化形式--李泽厚艺术思想述评

关于艺术的本质,李泽厚在其前期和后期的美学论著中,看法并不完全相同.大致说来,他主要经过了把艺术看成是反映生活的一种特殊形式,到提出艺术不只是认识,再到最后认为艺术是人类情感本体物态化的对应物这样三个不同的思想阶段.     

高职院校思想政治理论课实践教学模式探析——以思想与艺术结合为分析视角

将思想和艺术相结合,探寻思想政治理论课实践教学新模式对提高思政课教学质量,增强思想政治教育实效性具有重要意义。当前高职院校思想政治理论课实践教学模式有待于拓展,而把各种艺术手段运用到高职院校思政课实践教学中则具有可行性和必要性,思想政治理论课艺术实践教学具有美育功能、认知功能和教育功能。     

加强培训提高工会干部的安慰技巧

我国目前还处于工伤事故的易发期,工伤事故不仅造成人员伤亡,而且对目击者及其受害者家属心理造成巨大创伤。工会在参与事故处理时、常去慰问职工,这是一种心理帮助。如果能通过培训,提高安慰技巧,不仅在一定程度上起到了心理危机干预的作用,也可以弥补目前我国专业心理学工作人员有限的问题。更体现了我国以人为本的安全发展理念。     

Post-Pussy Riot: art and protest in Russia today

This article shows that resistance and a critical discourse continue in the arts, especially in visual art, in Russia under the present political conditions when free speech has been seriously circumscribed. When in May 2012 Vladimir Putin was reinstalled as president with a new authoritarian conservative agenda, it was expected that the situation for culture would change. This article addresses the question of whether a critical discourse survived in the arts under the new conditions. It presents the new political context for the arts, and provides examples of various artistic strategies of resistance/protest in Russian contemporary art by applying Jacques Ranciere’s concept of dissensus. The focus is on visual art, although references are also made to the world of theater. The first section presents the new official role given to culture and the new state cultural policy as components of a reactionary backlash against the reform policies under Mikhail Gorbachev and Boris Yeltsin, and describes conflicts around art and art productions that followed from the new state policy. A second section gives examples of dissensus in art today by presenting artworks by Piotr Pavlenskii, Arsenii Zhilyaev, Stas Shuripa, and Anna Titova.     

“用文字来表现一种造型感”——论罗杰·弗莱设计美学对伍尔夫小说实验的影响

弗吉尼亚·伍尔夫的现代主义小说实验深受英国艺术批评大师罗杰·弗莱视觉艺术观念的影响。弗莱高度重视形式与设计,认为画家要运用线条、色彩、块面等手段赋予画面的整体结构以稳固、和谐和富于秩序的效果,而他惊喜地在法国后印象派画家塞尚的画作中找到了自己艺术追求的现实范本。在他的影响下,伍尔夫的小说也着力追求绘画的结构设计与空间造型特征,体现出塞尚画风的明显影响。     

浅析延安文艺的思想政治教育功能

延安文艺是文艺思想政治教育功能发挥的典型:一是发挥了政治动员功能,在实现社会认同、动员群众参加革命方面起到了重要的作用;二是发挥了激励功能,为经济建设提供了强有力的精神动力;三是发挥了价值引领功能,在满足社会精神建构需要的同时有力地促进了人民大众思想道德素质的提升;四是发挥了社会协调功能,为陕甘宁边区局部执政区域社会事业的发展提供了智力支持。当前,文艺作品出现过度娱乐化倾向,削弱了文艺应有的教育功能,借鉴发挥延安文艺思想政治教育功能的历史经验,有利于提高文艺作品的思想性,实现文艺作品的育人功能。     

Graffiti goes to the movies: American fictional films featuring graffiti artists/writers and themes

Since the early 1980s, in addition to the increase in graffiti and street art in many urban contexts, a number of movies have been made that have either examined this phenomenon and the people who engage in this activity, or used graffiti and street art as a backdrop to tell a story. This article briefly reviews the scholarly literature that examines movies that portray criminals and criminal actions, and then analyzes seven American-produced fictional (drama) films using graffiti writers/artists as major characters and then draws generalizations about them. Although this is not a semiotic analysis of the films, to the extent possible, it delves into the settings, plots, characters, dialog, and how realistic the movies appear to be. In general, most of the films include unrealistic aspects and/or are of poor quality, and this contributes to misrepresentations of and stereotypes about graffiti writers/writing.