西藏传统戏剧与元杂剧艺术特色比较——以表演艺术比较为视角

西藏传统戏剧与元杂剧表演艺术一样源远流长。在长期发展过程中,两者都形成了各自极具特色的艺术表演形式。然而,对两者之间的比较研究,成果还较为薄弱。文章围绕"以唱为主的戏剧表达模式""以念白为重要补充的演出体制""对灵活多样做功的不懈追求""对武打场面的设置艺术"等唱念做打四个方面的基本表演形式,做了初步的探讨和比较研究。通过对两者的比较研究,探讨了两者所发展形成的相对程式化的各具特色的表演模式和技巧。论者旨在说明两者间虽具有异同性,但更具交流、通融性。     

孔子领导心理思想初探

孔子关于领导心理的思想颇为广泛,特别是对领导的功能、领导者的心理影响力及领导艺术三个方面进行了较为系统的论述。孔子研究了领导者的行为及其对下属心理和行为的影响问题,领导影响力的心理机制和构成问题,以及由识人心理、用人心理和治人心理组成的领导艺术等问题。     

论公安擒拿格斗术的教学与实战应用

公安擒拿格斗术内容丰富 ,手法多样 ,针对性强 ,选择余地大 ,基本涵盖了公安工作中需要使用擒拿格斗技术的各种情况。因此 ,我们在教学上就应根据不同的任务要求 ,在不同的地形、场所和敌我态势下进行施教 ,针对不同的捕获对象 ,灵活运用不同的技战术 ,以达到最佳的制敌效果。     

论萧红作品对当今文学创作的启示

萧红的作品来源于生活,恰切地表现生活,具有丰厚的内涵;同时,她的作品具有创新性,所以艺术质地优良;她忧国忧民,与人民同呼吸共患难,具有高尚的品格。这些是当今文学创作可借鉴之处。萧红作品对当今文学创作的启示是:恰切地反映客观生活,是文学作品取得成功的主要因素;意识的超前与艺术的创新是文学创作成功的必要因素;好的文品出自好的人品。     

Balancing inside and outside lobbying: The political strategies of lobbyists at global diplomatic conferences

This article seeks to explain the use of inside and outside lobbying by organised interests at global diplomatic conferences. At first sight, the lobbying at these venues is puzzling as it does not seem to be a very fruitful way to acquire influence. The use of outside strategies especially is perplexing because most aspects of international negotiations fall outside of the purview of national constituencies. It is argued in this article, however, that the presence of outside lobbying is not so puzzling if lobbying is seen both as a way to attain influence and as a way to pursue organisational maintenance goals. Empirically, the article draws on interview data with 232 interest group representatives that participated at either the 2012 session of the World Trade Organization (WTO) Ministerial Conference in Geneva, or the 2011 (Durban) and 2012 (Doha) United Nations Climate Conferences. The analysis demonstrates that organisational needs, and especially the competition actors face in obtaining resources, significantly affects the relative focus of organised interests on inside and outside lobbying.     

‘We are Jamaicans:’ living with and challenging the criminalization of homosexuality in Jamaica

Today, some 80 countries around the world have legislation criminalizing homosexuality, while those who engage in same-sex relations risk mob violence resulting from cultural intolerance. Despite this, gay rights advocacy within these countries exists. This paper examines gay rights advocacy in Jamaica – a nation which criminalizes same-sex relations and which has been identified by observers as among the most intolerant of same-sex relations. Using interviews with gay rights activists working with Jamaica’s leading gay rights organization, this paper describes the gay rights movement in a climate of repression. It begins with an overview of Jamaican sexual values, tracing its condemnation of homosexuality to a history of plantation slavery. Next, it discusses the emergence of a gay pride movement and the development of a broad-based association for all sexual orientations and identities. Finally, it examines the advocacy and activism of the Jamaican Forum for Lesbians, All-Sexuals, and Gays, a voice for Jamaica’s lesbian, gay, bisexual, and transgendered community. Throughout, the paper reveals how even an oppressed identity may find a voice and thrive despite the greatest of legal and cultural challenges.     

抗日民主根据地革命美术活动及其特点

抗日民主根据地的革命美术工作者,始终坚持为抗战服务和为人民群众服务的政治方向,深入人民群众和抗战生活之中,不断地学习民族传统和探求中国风格,创作了很多具有浓郁民族特色并被人民群众所喜闻乐见的优秀美术作品,充分发挥了美术这一教育人民、打击敌人的艺术武器的作用。他们的美术创作不是在与时代隔绝的象牙塔中完成的,而是直接投身于斗争,投身于群众活动的结晶。他们既是画家,同时也是革命家、对敌斗争的英勇战士。     

MPs' Responses to a Proposed New Constituency Map: Electoral Prospects,Community Ties and Party Organisation

Until new legislation was passed in 2011, community ties and continuity of representation were the major criteria deployed by the United Kingdom's Boundary Commissions when defining parliamentary constituency boundaries. Equality of electorates is now the paramount criterion, and the Commissions' first proposals using that new format substantially fractured many of the existing constituencies. MPs were able to respond to the Commissions' proposals under the altered public consultation procedures. Only a small majority did so, however: there were significant differences across the political parties in both response rates and the nature of the responses, the majority of which used community ties as the main grounds for either supporting or opposing the Commissions' proposals.     

Velvet Disillusionment: Czech Performing Arts and Twenty-Five Years of Transition, 1989–2014

ABSTRACT

The performing arts sector of the Czech Republic faces significant challenges twenty-five years after the Velvet Revolution, which ushered in swift and dramatic political, social, and economic change. Early policy decisions, subsequent privatization efforts, and neglect, compounded by the country's foray into the muddy waters of the free market, have left artists and administrators seeking solutions and searching for solvency. Empirical research, primarily in the form of surveys, site visits, and interviews with prominent Czech artists and administrators, significantly informs this article, which explores the state of Czech performing arts twenty-five years after the fall of Communism.     

Means and Ends: A Theory Framework for Understanding Entrepreneurship in the US Arts and Culture Sector

This article provides a framework for the conceptualization of arts entrepreneurship in the US by first examining a range of perspectives on the boundaries of the “arts and culture sector” in the US and then exploring in some depth four theories of entrepreneurship and how such theories may be realized within the arts and culture sector. Theories of firm formation are considered both generally and as potentially applied to the arts and culture sector, with examples of firm formation drawn both from existing literature and the author's direct observation of entrepreneurial activity. Finally, the essay connects these theories in a means and ends framework to provide a context for understanding arts entrepreneurial activity, especially in the US arts and culture sector. The theory that emerges from the examples provided to illustrate the framework is a simple one: artists form firms or otherwise undertake entrepreneurial action toward the end of creating art sustainably and they do so by discovering or creating new connections between their means and that desirable end.