警察教坛艺术论

警察院校课堂教学艺术是一名警察教师能否真正发挥自己的政治素质与知识专长的主观前提要件。多年的警坛正规教育实践表明 :教师充分有效利用警务特点行业丰富的文化资源 ,将各种教学艺术通过人格化魅力加以高信度扩拓 ,进而一扫课堂中持续的精神压抑 ,使学生的苦学变乐学、重负变享受、要我学变我要学、木然变兴奋而无形中增强了其学习的主动性与创造性 ,真切地让他们第一次发现学习终于变成了一种心灵的慰藉。     

抗战文艺运动述略

抗日战争爆发后党所领导的文艺运动呈现出新的时代特点.围绕"抗战"主题,与民族解放运动同步发展,运用文艺形式进行抗日救亡宣传成为抗战文艺运动的中心内容.探讨抗战文艺运动,得出的结论是:文艺不能脱离现实,文艺必须宏扬时代的主旋律、文艺不能没有党的领导.     

浅谈中国现代女性艺术的特点及形成原因

中国现代女性艺术是20世纪90年代的新生事物,它既不同于以往的女性艺术,也与西方女权主义艺术存在很大差别,有其自身的特点和形成原因,并有其独立的美学品格.     

隆回花瑶民间艺术研究

花瑶民间艺术和花瑶民俗是民族民间传统文化瑰宝,但目前人们对花瑶民族风情与民间文化的认识,无论是从当地的政府部门还是从学术界来说,大多是从经济学、民俗学、文化学、社会学和人类学等角度来研究的,还没有或很少有人从艺术学的角度来认识和鉴赏花瑶民间文化的艺术特征与美学价值.     

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.     

Black organs and optics: gazing at viscera in the work of Doreen Garner

Between Doreen Garner’s performance The Observatory and sculpture Black Ocean/Big Black, a significant divergence in gazes and spaces emerges. On the one hand, The Observatory arguably evokes a metaphorical nexus between body, flesh, organs, and land – a move that integrates archaeological and clinical gazes into a black female optic of pleasure wherein an oppositional gaze disidentifies the theatrical and scopophilic framing of black women’s bodies. The author argues that while Garner’s vitrine-enclosed performances, which elicit several gazes at once, signify a geological position and attempt to exhume the gory archives of black women’s bodies in art and science, her sculptural installation Black Ocean signals a queer liquidation and kinetics of black flesh.     

批判性思维·艺带教育·公安学员创新能力

在以创新为灵魂的当今时代,个体不仅需要全面、和谐、自由、充分的发展,更需要独创的有个性特色的发展,才能适应瞬息万变的社会变革的要求,才能对国家、民族和人民的发展作出创造性的贡献。创新能力的培养与提高离不开批判性思维,艺术教育中的批判性思维有利于公安学员主体意识的培养、有利于公安学员个性特点的培养、有利于公安学员灵感思维能力的培养,艺术教育中的批判性思维将直接为公安学员创新能力的培养打下坚实的基础。     

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.     

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.”