Confectionery and Conflict Resolution? What Chocolat Reveals about Mediation

A close analysis of the film Chocolat discloses a new metaphor for the mediator — the mediator as cook. The use of this metaphor throughout the film suggests new insights about mediator style and practice. Specifically, the mediator–protagonist in Chocolat demonstrates that: (1) mediations need not be voluntary to be sound, (2) non-neutral, directive, evaluative mediators can be effective if they individualize their approaches to each disputant and dispute, and (3) effective approaches to mediation celebrate emotion and pleasure, contrary to many conflict resolution theorists who write about the importance of emotions, but do not privilege them in practice.     

心理艺术视阈下的院校思想政治工作

院校是学员学习理论知识的场所,也是学员世界观、人生观、价值观升华和固化的场所。军队院校担负着培养军事人才的重任,需要强有力的思想政治工作来支撑。加强院校思想政治工作,必须熟悉和掌握院校学员的心理特征,顺应其心理变化的规律,要善于用"情",对学员多肯定少否定,学会换位思考,以客观的态度来开展院校思想政治工作。     

影视作品的作者身份和著作权归属问题探析

基于对作品创作行为和著作权性质的不同理解,两大法系对影视作品的作者身份也有不同的理解,并采取了不同的立法处理模式。目前,我国著作权法对作者的身份和范围的规定均不够明确。在影视作品著作权归属问题上,我国著作权法的立法模式不仅有悖法理,作者的权利也未得到应有的尊重,正确的做法是回到大陆法系的正宗。同时,为解决影视作品作者和著作权人署名不规范的问题,国家应尽快完善相关立法,科学界定＂制片者＂定义,同时对影视作品著作权人的署名做出明确要求。     

The Feminist Art of Self-Education

Abstract

Sociologist Elizabeth Long has charted the emergence of women’s reading groups in nineteenth-century America. ‘The women who founded literary clubs’, Long (2004, 337) tells us, ‘were aflame with the then revolutionary desire for education and self-development, which they called “self-culture”.’ Comparable aspirations continued to fuel a drive amongst women to organize together within reading and publishing groups, usually outside of official institutions, well into the twentieth century. This ‘revolutionary desire’ for self-education has also been evident in the UK women’s art and art history movement, although it has not been addressed in thorough detail. This article therefore seeks to situate an overlooked history of artistic reading and publishing communities in relation to an established body of theory in literary and cultural studies. These theoretical materials will illuminate the importance that reading and self-education (either in person or as part of a periodical network) had in establishing solidarity, and generating debate, within a flourishing art and art history movement. The second half of this article focuses on a specific case study. FAN: Feminist Art News (1980–1993) was an independent, grassroots publication that grew out of the Women Artists’ Newsletter in London. Temporary editorial collectives published themed issues on a quarterly basis. This article contends that it is no coincidence the subject of art education formed the focus of the periodical’s first issue, as well as a subsequent issue four years later. This indicates the significance of a reflexive auto-didacticism to second-wave feminism, as well as gesturing towards the long history of ‘education and self-improvement’ that has fuelled women’s reading and study groups since the nineteenth century.     

通过艺术教育培养当代大学生正确的审美观

通过艺术教育,提高当今大学生的审美素质和审美能力,使当代大学生摆脱庸俗、狭隘的观念,使之具有高尚情操。同时,提高学生的判断力,把握美丑的尺度和价值高低,培养正确的审美观,使自身素质全面发展。     

简论城市景观中的装饰艺术

装饰艺术存在于生活的方方面面,同样也存在于城市景观之中。城市景观中的装饰艺术与其所存在的城市景观之间存在紧密的关系,装饰艺术要适应于它所在的城市景观,同时装饰艺术在城市景观中起着不可忽视的作用。     

动的艺术与静的艺术——艺术本体新论

从全局上审视所有世间存在的艺术品——艺术家或非艺术家创造的用于审美需要的物质文化实体产品,会发现人们对艺术品的解读只有两种方式——有些艺术品以运动的形式被解读,另一些艺术品则以静态的形式被解读;或者说,前一种艺术品具有固定的先后解读秩序,必须严格按照时间序列遵从艺术品的先后构成秩序方可被解读,这些艺术品有文学、电影、电视、戏剧、音乐、舞蹈等;而后一种艺术品则以纯粹的静态形式被直观,这些艺术品有绘画、雕塑、摄影、建筑等。依据艺术品的构成秩序和解读秩序而将艺术品划分为动、静两大类,标准清晰,容易被一般艺术接受者所掌握,同时这一标准也比较能够揭示各种艺术品的本体特征,涵盖力和统摄性强,所以我们倾向于按照这一分类标准构建新的艺术格局。     

A Letter Sent,Waiting to be Received: Queer Correspondence,Feminism and Black British Art

Abstract

This article examines what the published letter does as a form that is both intimate and public, and how it is particularly resonant when dealing with the silences and absences around queer and feminist artist of colour histories. Connections are made between three letters published in feminist and queer journals and books, written for readers who may include the writers’ loved ones, friends, contemporaries, and future readers. These three letters are contained within the following publications: Surviving Art School (2016) by the group Collective Creativity, a QTIPOC artist group who made the publication as part of a wider project examining the history of Black British Art (members are: Evan Ifekoya, Raisa Kabur, Rudy Lowe and Raju Rage); a special issue of FAN (Feminist Arts News) edited by Lubaina Himid and Maud Sulter in 1988, the precursor to the more well-known collection Passion, edited by Sulter in 1990; ending with Himid's recent reflections on her curation in the 1980s through a series of ‘Letters to Susan’ published in the 2011 catalogue for the exhibition Thin Black Line(s) at Tate Britain. Through close examination of these examples, this article explores the particularities of the letter form, asking if it allows feminist and queer artists of colour to present their experiences in a manner that encourages all their readers to take part in the conversation, whilst prioritizing calls for other people of colour to respond. The article proposes that the published letter form keeps feminist histories alive and creates a counterpublic that speaks to and for a community that is imagined as both geographically and temporally diffuse.     

无道之德: 黑色电影的艺术伦理

艺术与伦理的关系是历代美学聚讼已久的话题，这在黑色电影中显得尤为突出。问题的关键在于，不能在理论层面上进行永无休止、坐而论道的争论，而得落实到具体作品中展开分析。如果说缺乏起码的游戏元素会损害作品的接受性，那么拥有必要的伦理性则是优秀作品的共同品质。黑色电影之所以“黑”，在于其主角行为处事往往显得离经叛“道”，但这类电影之所以也能产生一些脍炙人口的艺术杰作，则在于其有一种特殊的“德”性，满足了审美实践对于艺术伦理的基本诉求。