文艺的德性：审美与伦理的耦合

文艺有着深刻的伦理学内涵,优秀的文艺作品的道德意义就在于它是人性的敞亮与主体性的高扬。缺乏伦理学的视野,就无法全面把握文艺的本真特质。文艺作品不同于道德教科书,文艺所传达的不应是抽象的直白的信条,而应该是活的生活———经过作家审美创造的生活。但文艺毕竟不是超人类的存在,文艺展示自然、社会、人际、心灵,提供测试人生价值和人生态度的光谱,文艺家的主观命意、文艺作品的客观意蕴以及受众的解读与再创造,本身就是一定价值的自觉选择和自然涵纳。伦理道德在文艺作品中必须是符合审美要求的存在,明晰的个性化(典型化)与生动的感性化,是其按照美的规律进行创造的实现机制。     

重大危险源分级技术的研究

本文结合《关于开展重大危险源监督管理工作的指导意见》(安监管协调字[2004]56号文),将重大危险源分为化学品重大危险源和非化学品重大危险源;并介绍了国内关于重大危险源分级的各种方法,指出了静态分级和动态分级的优缺点,针对动态分级,提出了分级指标、分级档数和分级界限三要素,并给出了确定的方法,从而为重大危险源的具体分级及深入研究提供了理论依据。     

论高校工会主席协调关系的作用、原则和艺术

随着高校教学、人事和分配等制度改革的深入开展,涉及国家、学校、教职工三者之间以及人与人之间的利益关系出现了新的变化和调整,围绕利益关系的种种矛盾更加复杂,迫切需要平衡利益、疏通思想、理顺情绪、化解矛盾、协调关系,工会主席面临着大量的关系协调工作,而这种协调工作只有在掌握了协调艺术,才能有针对性地、及时有效地协调关系。因此正确处理和协调好有关利害关系,维护广大教职工的合法权益,成了高校工会主席面临的重要任务之一。     

加强党的建设 提高党的战斗力

新的历史时期,党所面临的形势和任务发生了根本性变化,对党的领导能力和领导水平提出了新的要求。加强和改善党的领导,要通过提高执政能力和执政水平来体现。提高党的执政能力是加强党的建设的重要内容,是实现党在新世纪各项任务的根本保证。     

论民间艺术的视觉形象

民间艺术的视觉形象主要有三个特点:造型的完美性,色彩的完整性,意象表达的神似。民间艺术形象的再造和完美,既要从民间汲取精髓,也要在艺术形式上不断创新。     

谈公安领导艺术的特征

卓有成效地实施公安领导与管理离不开公安领导艺术,而复杂多样的公安工作性质又决定了公安领导艺术的不同特征.文章重点论述了公安领导者在决策指挥、思想教育、目标管理、实践工作和指导工作等方面的艺术特征.     

从一维到多元——浅议社会转型期公安专业学生思想教育的改进

In order to adapt to the development of higher education under the background of social transformation,the Central Com- mittee of CPC and the State Council have put forward“Suggestions on Strengthening and Improving College Students' Ideological and Polit- ical Education”.How to adhere to such a sprit to improve students' ideological and political education has become the chief task for police colleges.Police colleges should change the concept of unitary model to the model of pluralism to increase students'ideological and political education level.     

Between the Museum and the Street: Roberto Matta's Works in Chile during the Unidad Popular

This article seeks to contribute to the study of the work Roberto Matta made in Chile in the early 1970s by focusing on a series of painted arpilleras made at Museo Nacional de Bellas Artes and El primer gol del pueblo chileno, a mural created in collaboration with the muralist group Brigada Ramona Parra. I argue that this body of work was largely informed by the ideals of the Unidad Popular and that the artist's presence in the country might have contributed to the institutional validation of popular practices such as crafts and muralism in the local artistic scene.     

Economics and Law of Works of Art in the Single European Market

This paper is concerned with the economic analysis of the European rules on the circulation of works of art. After reviewing the relevant literature, an economic framework of the international circulation of works of art is provided (social goals, efficiency and distributive aspects, an economic rationale for a general free trade rule integrated by selective protectionism). Using this framework the European system of circulation of works of art—resulting from the combination of the Maastricht Treaty with Regulation 3911/92 and Directive 93/7—is analysed. The main results of the analysis are: 1) the general free trade principle ruling the Single European Market is strongly limited by rules protecting national artistic heritages of member states; 2) this protectionism—working towards countries both outside and inside the European Union—is applied according to the national laws of each member state, while, contrary to what the Maastricht Treaty would call for, an artistic heritage of European significance is not defined and no autonomous role is recognized in this field to European Institutions; 3) this system shows some inconsistencies with economic theory, as strict limits to trade are not provided when they should be required by the preservation of the physical or artistic integrity of works of art, while in other cases an unduly restrained trade may derive from highly protectionist national laws and export-licencing policies of member states. Enforcement provisions are also analysed and some proposals to improve the system are advanced.     

中国"舞"台原创与市场的突破点

中国舞蹈舞台演出的现代发展与突破需有三个条件 :社会环境、原创性作品和市场经营。当前 ,三个条件中仅具备社会大环境 ,而就更重要的两个条件来说 ,原创还缺乏现代作品的个性思维色彩与深度 ;市场运作缺少小而灵活的演出组合 ,以及稍小的演出场所。因而中国“舞”台的真正繁荣 ,还有待编导和舞者们、管理者和艺术经纪人的奋力突破。