关于学派批评的美学检视

近年来文学批评领域出现的一场学院派批评成败得失的争论,有其复杂多元的思想与时代背景,它是有意义的.但学院派批评尚非严格意义的学派批评,它存在的某些不足与缺陷,从理论美学上加以检视可知,要建设真正的学派批评必须解决好三个重要理论与认识问题.     

One Angry Man? A New Look at an Old Film

In this satire written from the perspective of the fictional defendant in the film 12 Angry Men , the arguments used by the dissenting juror to prove the possibility that the defendant is innocent are explained in ways that actually support his guilt.     

大唐雄风:唐镜工艺美术赏析

盛唐之季,经济繁荣,社会安定,人们审美需求很高,尤其妇女,普遍喜爱修饰打扮,因而铜镜盛行。人们不仅注意铜镜的实用价值,而且追求其审美价值。铜镜上的工艺美术,反映了唐人企望吉祥和瑞的生活追求、多样统一的审美理想和精湛的工艺水平。     

Gender and Race in the South African Film Industry: A Comparative Analysis of the Representation in South African Film Festivals

The role and representation of female filmmakers globally have been topics of discussion but have not been researched in depth to help garner significant change, especially in the South African film industry. The role of film festivals like the Durban International Film Festival (DIFF) and Encounters help female filmmakers by giving them the platform to showcase their work as well as gain more recognition. However, the number of female filmmakers, and black female filmmakers in particular, are not recognised substantially at these festivals. South African box office reports also indicate that the film industry is dominated by white male directors and that not enough films are produced locally to meet up with the amount of international films that are screened at local cinemas, which is further indication that a gender and race discrepancy is prevalent. There is also the issue of female filmmakers being limited in the fiction film genre and as a result the film industry in South Africa and globally have more female filmmakers making non-fiction films than fiction films. This article will explore the issue of gender and race in the South African film industry, by focusing on the two biggest film festivals: DIFF and Encounters.     

The man who envied women

Boredom is a permeating, trespassing force – an intensity not necessarily recognized as such. This essay approaches the aesthetics of political failure, and in particular, the cinematic intensities of boredom as affective expressions of post-traumatic malaise. Lou Ye’s Summer Palace (2006), one of only three Chinese narrative films to represent the 1989 Tiananmen Incident, draws upon an aesthetics of banality to dramatize the epistemological limits and resultant trauma of 6/4, a historical event subsequently repressed in mainland Chinese media. Refusing melodramatic catharsis, the film’s stalling and stupefying effects perform both the amnesiac circumstances surrounding 6/4, as well as the compassion fatigue that followed. Even more surprisingly, Lou’s overuse of sex, a dull instrument by the film’s end, constitutes Summer Palace’s privileged sight/site of boredom. Indeed, sex, rather than constituting the censored obscene act, stands in for something far more offensive. Summer Palace frenetically pivots around an open secret, the historical memory of Tiananmen, as nervous sensation is composed within and without the text, centering on women’s bodies. Drawing on close textual analyses, this essay contends that the excessive contours and shapes of the memorial wound in Summer Palace take on the particularly anxious forms of dull sex in a messy Square.     

母爱缺失对梅娘小说创作的影响

梅娘（原名孙嘉瑞,笔名敏子、孙敏子、柳青娘、云凤、孙翔等）是活跃在上个世纪三、四十年代华北东北沦陷区的著名小说家。梅娘的小说创作,从自身的成长经历和情感体验出发进行着飘离政治的叙述。幼年丧母、缺少母爱的童年对梅娘小说创作的影响非常显著。     

论电影作品的保护与盗录行为的法律规制

电影作品由于其经济性和文化性而得到知识产权法的重点保护.但现实中,针对电影作品的盗版形式仍然是层出不穷,其中影院盗录是提供各种非法制件的来源,因而性质上也最为严重.对于影院盗录行为的刑事打击,许多国家和地区已经通过立法来规制盗录行为,并在双边条约、数边协定中出现刑事打击盗录行为的条款,中国也应该适时采用,以更好地保护电影作品的著作权,为文化(电影)产业的长期健康发展提供法律保护.     

师范院校“三笔字”艺术教学原则探讨

三笔字即毛笔字、钢笔字和粉笔字,它是师范院校学生必备的一项职业技能,是教师传授知识信息、传播审美观念、传承民族文化、塑造自身形象的不可或缺的重要载体。在现代电脑技术普及背景下,师范院校在教学中理应坚持逐步树立理论与实践、欣赏与品评、软笔与硬笔、楷书与行书、临摹与习作相结合的四个教学原则,才能达到良好的教学效果。     

浅谈《沁园春·雪》的艺术表现及情感处理

在我国近现代艺术歌曲宝库中，有许许多多优秀的作品，其中《沁园春·雪》是大家广为熟悉的作品之一。作曲家生茂、唐诃深悉毛泽东诗词《沁园春·雪》的内在涵义．通过充满才华的艺术创作。使得这首艺术歌曲在高等艺术院校的声乐教学中被频繁使用．深受广大师生喜爱。大家知道，演绎作品时对于作品创作背景的了解是非常重要的。《沁园春·雷》如果单纯从词的文学结构来分析．分上下两篇；上篇大笔挥洒．描写北国雪景。展现祖国山河的壮丽：下篇借景抒情．由祖国山河的壮丽引出英雄人物．纵论历代英雄．抒发诗人的抱负。