The artist as a medium and the artwork as metaphor in Murakami Haruki’s fiction

Abstract

In many of Murakami Haruki’s works, the protagonist is in a profession close to the world of literature, although usually not exactly a writer. In their role as translators, advertising copywriters, journalists, or editors, Murakami’s protagonists are invested with the task of rearranging fragments of reality into narrative or artistic form, and/or of transmitting a message. This process is emotionally charged, often involving a supernatural dimension. While the process of reconstructing a narrative is largely unconscious, the narrator’s choice to act in this capacity is deliberate, and is presented as a way of fulfilling his responsibility towards others. I read this element as an expression of Murakami’s vision of the role of a writer in society. The figure of the artist-narrator takes an interesting form in Kishidanchō-Goroshi (Killing Commendatore, 2017), where the protagonist, a visual artist specialising in realistic portraits, decides to pursue a more creative approach to painting that leads him to a series of supernatural adventures. Through a close reading of the novel, this article investigates how Murakami’s portrayal of the artist as a shaman-like figure functions like a metaphor for the role of the literary author as a catalyst that enables people to connect with their inner self and with each other.     

浅谈当代大学生创新意识的培养

受现有教育体制和教育方式的限制,大学生的创新意识与创新能力亟待提高,这是我国高等教育所要解决的首要问题。为此,高校应该从树立创新教育理念、营造良好的创新氛围和提高大学生的文化底蕴入手,培养大学生的创新意识。     

快感的考古消费:文博类文创产业的产品特性研究

中国文创产业发展到今天的水平,应当重视产业细分与产业细分条件下产品特色的开发问题。对故宫文创业的个案进行“知识考古学”研究和考察的结果表明,文博类文创产品的基本特性为快感的考古消费,快感消费为产品经济面向的一端,考古则显示了该类产品的文化内涵。它通常包含了知识性、叙事性、场景性的精神内容。所谓知识性将涉及教育、权威、权力批判等几个方面的内涵;叙事性包含文本性、历史秩序性和可阐释性等内容;场景性则通过展演、姿态的造型等凸显。     

哲学教育与大学生创新能力培养

高校的哲学教育应当承担起培养大学生创新思维和创新能力的重任,但是,我们的教育大多还是传统的知识“传-接”型教育,没有发挥出哲学教育应有的特点和功能。高等院校要突出大学生哲学教育和创新能力相结合的培养,哲学教育应注重大学生的创新思维能力的培养。从哲学的学科性质以及哲学教育的本性和方法论意义来看,发展学生的创新思维能力是哲学教育的重要功能。辩证唯物主义哲学给了我们进行创新思维的世界观基础。     

Trends in Governance in Further Education

Abstract

The governance of further education colleges has two main phases since the passing of the Education Act 1944 – the period when further education colleges were under local authority control and the period from ‘vesting day’ on 1 April 1993 when colleges became incorporated and further education corporations were formed as charities. This review is primarily concerned with the landscape of college governance since 1 April 1993 and draws upon some of the very limited number of research studies into the practice of further education governance. The experience and contribution of the key governance players – chair of the corporation, governors, the principal, the senior staff, the clerk to the corporation – are discussed. Throughout the period since 1993, college governance has operated within a policy framework provided by government and, to a greater or lesser extent, the implementation of those policies by agencies of government. In simple terms, the pattern may seem to be creativity (in the early years), compliance (following some high profile college governance collapses), micro-management (through the Learning and Skills Council years) and now the most open, imaginative phase as the current government encourages the strong colleges to play a bigger part in local education provision. Perhaps now is the time when the experience of college governance to date is able to draw upon its considerable strengths and show what the accumulation of governance capital can achieve.     

Here be monsters: a choreomaniac's companion to the danse macabre

Consider this a vade mecum: an invitation to “walk with me” through more or less uncanny terrains of worlds in the making in search, of(f) course, of monsters. The search will be delving into the areas of “creepypasta:” pieces of cursed prose and pictures that circulate online, waiting to contaminate and possess the next reader. Using a theoretical framework of posthuman and feminist theory, not least the work done by Jacques Derrida and Donna Haraway, this vade mecum asks what it might mean to engage ethically with that which is not supposed to exist, but which haunts us nonetheless. In other words: what does it mean to move, live and engage with spectres in digital times?     

研究生创新能力培养探析与思考

研究生教育在增强自主创新能力，建设创新型国家奋斗目标中具有特殊的地位和作用。本文围绕研究生创新能力培养这个主题，分别从教育主管部门、培养单位和指导教师等三个具体工作层面入手，分析存在的问题，提出了深化改革、推进创新的具体建议。目的是使研究生培养单位和指导教师在教育主管部门指导下，加强研究生创新能力的培养，全面提高研究生的培养质量。     

论艺术教育与创新人才的培养

思维方式包括形象思维和逻辑思维。形象思维与大脑右半球有密切联系 ,逻辑思维则与大脑左半球有密切联系。正确的思维方式应是形象思维与逻辑思维的统一。加强艺术教育 ,如更新思想观念、增设艺术类课程、开展丰富多彩的校园文化艺术活动、创造良好的人文氛围和美育环境 ,可以开发学生的形象思维 ,提高学生的创新能力 ,是培养高素质的创新人才的有效措施之一。     

论创意思维在思想政治工作中的应用

“创意思维”是近些年出现的一门新兴学科，思想政治工作方法的创新离不开它。本文阐述了创意思维的科学内涵和明显特点，通过实例来论述创意思维方法在思想政治工作中的应用。思想政治工作需要而且能够运用“创意思维”来增强它的实效性、主动性与可操作性。     

浅析高校体育教学中对学生创新能力的培养

素质教育的大力推进,使高校体育教学对学生的创新能力培养、素质提高发挥了重要作用。面对新的形式和任务,从创新能力的构成和发展出发,研究高校体育教学中对学生创新能力培养的基本方法和途径是十分必要的。