The official art of the Khrushchev Thaw: The Severe Style as an ambassador of the Estonian national school at Baltic art exhibitions in Moscow

In Estonian post-Socialist art history writing, the term ‘national’ has mostly been introduced as a defense mechanism against the Soviet regime. The aim of this article is to indicate that concept ‘national’ also played quite an important role in ‘official’ Soviet cultural politics, especially after Stalin’s death. The processes of cultivating ‘national particularities’ in the arts will be exemplified by the Baltic exhibitions in Moscow in the end of 1950s and 1960s.     

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。     

The Sovereignty of Things: Nationalism and Its Materials in Mexican Photography (1920s–1940s)

The ubiquity of the artefact in Mexican photography needs to be understood as the locus of key originary concepts and as a point of purchase for metaphotographic reflexivity and not merely as an emblematic prop or decorative marginalia. The article discusses the way in which strategies of focus, composition and visualisation, along with the selection or ‘find’ of particular objects and materials, made palpable the abstractions of self‐hood and cultural singularity through the disclosure of form, light and texture. It considers how the practice of the close‐up itself became a cultural trope and how, paradoxically, the pursuit of sovereign objects and autochthonous production in modernist photography elicited a response that infringed visibility in favour of proximity.     

关于企业形象设计与导入的拓展性研究

国际大型企业的CI发展，现已达到阶段性巅峰状态，因曲高和寡而出现发展瓶颈。国企CI战略要想优于竞争对手，跻身世界一流行列，就须对CI设计与导入进行深入的拓展性思考。     

Honey

In performance artist Linda Montano's deceptively simple 1981 video Anorexia nervosa, five women are interviewed about their experiences with self-starvation. In the video's interplay between image and speech, Montano creates a correlation between internalized hunger and the perceivable body, placing notions of spirituality and physical hunger at the core of the video. This reflection considers Anorexia nervosa as a meditation on ascetic discipline and talk therapy, both of which are, for Montano, strategic modes of art production.     

浅谈传统美学对现代招贴广告设计的应用

将中国传统美学融入现代艺术感强烈的招贴广告中,逐渐成为我国招贴广告设计行业、甚至是全球招贴广告行业的一种时尚和趋势。传统美学中对美的追求影响着现代招贴广告的设计,反过来,现代广告招贴又影响着传统美学的传承和发展。