Chinese civilization,with its long and continuous history and rich cultural heritage,plays a central role in China’s dialogue with other civilizations.Therefore,it is necessary to collect and refine the defining symb...Chinese civilization,with its long and continuous history and rich cultural heritage,plays a central role in China’s dialogue with other civilizations.Therefore,it is necessary to collect and refine the defining symbols and best elements of Chinese culture and showcase them to the world;develop discourse and narrative systems with Chinese characteristics,better tell China’s stories,and make China’s voice heard.This effort can help Chinese civilization shine globally,interact with other civilizations,and promote its communication and influence worldwide.In China,history museums,as physical carriers of Chinese civilization,are an important component in developing Chinese discourse and narrative systems and an important channel to better tell China’s stories and make China’s voice heard.Improving the artistry of museum exhibitions caters to the public’s growing demand for a more enriching cultural experience and substantially promotes Chinese culture on a global scale.With the communication of Chinese civilization as the main focal point,this study investigated the current issues related to the artistry of history museum exhibitions in China and defined the artistry of history museum exhibitions and their connotations.Based on an in-depth analysis of the artistry of historical museum exhibitions within China,this paper enumerated the areas where improvements could be made to enhance exhibition artistry,intending to promote the communication of Chinese civilization.展开更多
Aesthetic Modernity is a western concept.It was based on the development of the historical view.This article focuses on the aesthetic modernity pursuits of modern and contemporary Chinese art and compares it with the ...Aesthetic Modernity is a western concept.It was based on the development of the historical view.This article focuses on the aesthetic modernity pursuits of modern and contemporary Chinese art and compares it with the western culture and modern art under the concept of aesthetics.It also analyses the problems and causes in the process of modernity of Chinese modern and con⁃temporary art,and presents the advice to the further development of Chinese art.展开更多
Based on fission track dating of apatite, and measurement of vitrinite reflectance of rock samples from the Longmenshan (Longmen Mountain)area and the West Sichuan foreland basin and computer modelling it is concluded...Based on fission track dating of apatite, and measurement of vitrinite reflectance of rock samples from the Longmenshan (Longmen Mountain)area and the West Sichuan foreland basin and computer modelling it is concluded that (l)the Songpan-Garze fold belt has uplifted at least by 3-4 km with an uplift rate of no less than 0.3-0.4 mm/a since 10 Ma B.P.; (2) the Longmenshan thrust nappe belt has uplifted at least by 5-6 km with an uplift rate of more than 0.5- 0.6 mm /a since 10 Ma B.P.; (3) the Longmenshan detachment belt has uplifted by 1 - 2 km at a rate of 0.016-0.032 mm/a since 60 Ma B.P.; (4) the West Sichuan foreland basin has uplifted by 1.7-3 km at a rate of 0.028-0.05 mm/a since 60 Ma B.P.; (5) the uplift rate of the area on the west side of the Beichuan-Yingxiu-Xiaoguanzi fault for the last 10 Ma is 40 times as much as that on its east side; (6) the uplifting of the the Songpan - Garze fold belt and the subsidence of the West Sichuan foreland basin 60 Ma ago exhibit a mirro-image correlation, i.e. the rapid uplifting of the the Songpan-Garze fold belt was corresponding to the rapid subsidence of the basin;the Songpan-Garze fold belt has uplifted at a much greater rate than the West Sichuan foeland basin in the last 60 Ma;and (7) the palaeogeothermal gradient was 25℃ /km in the West Sichuan foreland basin.展开更多
Globalization is a topic much discussed today with the explosion of cell phones and instant messaging. This exchange of information causes the art historian to ponder the speed with which ideas spread in past centurie...Globalization is a topic much discussed today with the explosion of cell phones and instant messaging. This exchange of information causes the art historian to ponder the speed with which ideas spread in past centuries. The eighteenth was a century of colonial expansion made possible through the ships that sailed the great oceans Sea travel between Europe and North America drastically increased the spread of populations and their ideas between the old and new world. A good way to trace the exchange of ideas in picture painting in the eighteenth century would be to follow an artist like Benjamin West from his Quaker background in Pennsylvania to the center of the neoclassical style in Rome and a prolific career in London at the Royal Academy. West＇s travels and career offer an example of how an American pursued the artistic style of contemporary Rome to make images of North American history from a base in England. It was globalization eighteenth-century-style made possible by an ambitious artist connecting across the sea-lanes of international travel展开更多
Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom...Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud＇s ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud＇s ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.展开更多
Teachers of the ideological and political theory course should be confident in the ideological and political course,insist on the unity of explicit education and recessive education,be good at exploring the ideologica...Teachers of the ideological and political theory course should be confident in the ideological and political course,insist on the unity of explicit education and recessive education,be good at exploring the ideological and political education resources contained in other courses and teaching methods,and realize the full-time education of all employees.At present,there is still much room for improvement in the collaborative education of aesthetic education and moral education.Teachers of the ideological and political theory course should actively guide and explore the ideological and political education resources of music resources,and use the artistic discourse system to interpret the historical process of modern Chinese social development and revolution,construction,and reform,and its inherent regularity,which reflects the national history and national conditions,reflects the positive results of Marxism in China,the era,and the popularization,guiding students to profoundly understand the history and how the people chose Marxism,chose the Chinese Communist Party,chose the socialist road,and chose reform and opening up;strengthening the road self-confidence,theoretical self-confidence,institutional self-confidence,and cultural self-confidence of socialism with Chinese characteristics;earnestly establish the belief that“only socialism can save China,only socialism with Chinese characteristics can develop China.”展开更多
This paper explores the historical discourses of body and space and examines the ways body and space were linked to discussions about collectivizing and individualizing tendencies of radio broadcasting.This discourse ...This paper explores the historical discourses of body and space and examines the ways body and space were linked to discussions about collectivizing and individualizing tendencies of radio broadcasting.This discourse is reconstructed by comparing the writings on radio play aesthetics by the Jewish media scholar Rudolf Arnheim and the Nazi theorist Richard Kolb.My study shows that,contrary to the conception of radio as an apolitical“instrument of culture”(Hans Bredow),Arnheim and Kolb stressed socio-political implications of aesthetic decisions in radio art.By analyzing them,this paper contributes a nuanced understanding of discussions on the politicization of radio.展开更多
Water under Time, the novel by the reputed Chinese fiction writer Fang Fang, appropriates and reconstructs the conventions of the hysteric narrative as an affective form of feminine history telling and writing. The no...Water under Time, the novel by the reputed Chinese fiction writer Fang Fang, appropriates and reconstructs the conventions of the hysteric narrative as an affective form of feminine history telling and writing. The novel, which accounts Hankou city＇s past through the heroine＇s life story, illustrates how feminine hysteria provides a gendered lens of reconstructed historical authenticity via the panorama of China＇s early Republican period, the anti-Japanese War, and the present new millennium. Transcending the official historical accounts, Fang Fang＇s narrative features women＇s innovative reconfiguration of contesting historical discourses about the city, the community, and the nation. This study of Water under Time suggests that women＇s explorations of hysteria actually surpass the psychoanalytical reading of hysteria as paradigms of feminine bodily, sexual, and social abjection, and instead envisions it as a validating narrative aesthetic which carries the potential to rewrite the boundaries of gender, nation, and history.展开更多
Clouds are often appealed to when an objection is raised to the rationalist knowledge paradigm of the clear and distinct,as formulated by Rene Descartes.In such cases,clouds serve to establish an anti-classically orie...Clouds are often appealed to when an objection is raised to the rationalist knowledge paradigm of the clear and distinct,as formulated by Rene Descartes.In such cases,clouds serve to establish an anti-classically oriented,non-hierarchical and non-determinative,chaos-theoretically informed counter-paradigm.Itself informed by this tendency,this essay proposes to examine clouds as an epistemological challenge,capable of exposing specific tensions in science,philosophy,and art alike.These fields negotiate questions of perception and representation,hence aesthetic problems,on the basis of which this contribution formulates an“aesthetics from below.”Such an aesthetics does not proceed from aesthetic theories,nor is it based on fuzzy concepts;rather,it begins with reflection on perception-based experience and specifically historical artifacts and seeks to lead these toward the work of theory.In this essay,this is accomplished through an examination of the significance of clouds in Siegfried Kracauer’s philosophical reflections on history.展开更多
基金This paper is the phased outcome of the general project of Sichuan Academy of Social Sciences,“Collection,Sorting and Studies of Newspapers Run by the CPC in Sichuan Region during the period of the new-democratic revolution”(22FH38).
文摘Chinese civilization,with its long and continuous history and rich cultural heritage,plays a central role in China’s dialogue with other civilizations.Therefore,it is necessary to collect and refine the defining symbols and best elements of Chinese culture and showcase them to the world;develop discourse and narrative systems with Chinese characteristics,better tell China’s stories,and make China’s voice heard.This effort can help Chinese civilization shine globally,interact with other civilizations,and promote its communication and influence worldwide.In China,history museums,as physical carriers of Chinese civilization,are an important component in developing Chinese discourse and narrative systems and an important channel to better tell China’s stories and make China’s voice heard.Improving the artistry of museum exhibitions caters to the public’s growing demand for a more enriching cultural experience and substantially promotes Chinese culture on a global scale.With the communication of Chinese civilization as the main focal point,this study investigated the current issues related to the artistry of history museum exhibitions in China and defined the artistry of history museum exhibitions and their connotations.Based on an in-depth analysis of the artistry of historical museum exhibitions within China,this paper enumerated the areas where improvements could be made to enhance exhibition artistry,intending to promote the communication of Chinese civilization.
文摘Aesthetic Modernity is a western concept.It was based on the development of the historical view.This article focuses on the aesthetic modernity pursuits of modern and contemporary Chinese art and compares it with the western culture and modern art under the concept of aesthetics.It also analyses the problems and causes in the process of modernity of Chinese modern and con⁃temporary art,and presents the advice to the further development of Chinese art.
基金the National Natural Science Foundation of china (poject No. 49070140)
文摘Based on fission track dating of apatite, and measurement of vitrinite reflectance of rock samples from the Longmenshan (Longmen Mountain)area and the West Sichuan foreland basin and computer modelling it is concluded that (l)the Songpan-Garze fold belt has uplifted at least by 3-4 km with an uplift rate of no less than 0.3-0.4 mm/a since 10 Ma B.P.; (2) the Longmenshan thrust nappe belt has uplifted at least by 5-6 km with an uplift rate of more than 0.5- 0.6 mm /a since 10 Ma B.P.; (3) the Longmenshan detachment belt has uplifted by 1 - 2 km at a rate of 0.016-0.032 mm/a since 60 Ma B.P.; (4) the West Sichuan foreland basin has uplifted by 1.7-3 km at a rate of 0.028-0.05 mm/a since 60 Ma B.P.; (5) the uplift rate of the area on the west side of the Beichuan-Yingxiu-Xiaoguanzi fault for the last 10 Ma is 40 times as much as that on its east side; (6) the uplifting of the the Songpan - Garze fold belt and the subsidence of the West Sichuan foreland basin 60 Ma ago exhibit a mirro-image correlation, i.e. the rapid uplifting of the the Songpan-Garze fold belt was corresponding to the rapid subsidence of the basin;the Songpan-Garze fold belt has uplifted at a much greater rate than the West Sichuan foeland basin in the last 60 Ma;and (7) the palaeogeothermal gradient was 25℃ /km in the West Sichuan foreland basin.
文摘Globalization is a topic much discussed today with the explosion of cell phones and instant messaging. This exchange of information causes the art historian to ponder the speed with which ideas spread in past centuries. The eighteenth was a century of colonial expansion made possible through the ships that sailed the great oceans Sea travel between Europe and North America drastically increased the spread of populations and their ideas between the old and new world. A good way to trace the exchange of ideas in picture painting in the eighteenth century would be to follow an artist like Benjamin West from his Quaker background in Pennsylvania to the center of the neoclassical style in Rome and a prolific career in London at the Royal Academy. West＇s travels and career offer an example of how an American pursued the artistic style of contemporary Rome to make images of North American history from a base in England. It was globalization eighteenth-century-style made possible by an ambitious artist connecting across the sea-lanes of international travel
文摘Nicholas Bourriaud＇s relational aesthetics is regarded as a new approach to art history and criticism, but has recently been appropriated by many art programs as a pedagogical and productive strategy in the classroom. While there is much that is positive in Bourriaud＇s ideas in the first sense, its translation into a studio situation is problematic. Offering a corrective through Lacanian psychoanalysis, with acknowledgement of additional figures with corresponding ideas, it is proposed that Bourriaud＇s ideas are valuable additions to pedagogy generally but are equally in need of modifications that encompass a critical understanding of the desire structures of both students and faculty.
基金The phased achievements of:the 2019 Shanghai School Art Research Project——“Study on the Collaborative Education of Music Education and Ideological and Political Education”(Project No.:HJYS-2019-A02)the 2018 Ministry of Education Demonstrate Marxist College and the Excellent Teaching and Research Team Construction Project——Study of the Early Marxists’Understanding and Application of Chinese Excellent Traditional Culture(Project No.:18JDSZK075)and the 2019 General Task of Shanghai’s Philosophical and Social Planning——“Study on the Origin of Red Culture in Shanghai”(Project No.:2019BDS008).
文摘Teachers of the ideological and political theory course should be confident in the ideological and political course,insist on the unity of explicit education and recessive education,be good at exploring the ideological and political education resources contained in other courses and teaching methods,and realize the full-time education of all employees.At present,there is still much room for improvement in the collaborative education of aesthetic education and moral education.Teachers of the ideological and political theory course should actively guide and explore the ideological and political education resources of music resources,and use the artistic discourse system to interpret the historical process of modern Chinese social development and revolution,construction,and reform,and its inherent regularity,which reflects the national history and national conditions,reflects the positive results of Marxism in China,the era,and the popularization,guiding students to profoundly understand the history and how the people chose Marxism,chose the Chinese Communist Party,chose the socialist road,and chose reform and opening up;strengthening the road self-confidence,theoretical self-confidence,institutional self-confidence,and cultural self-confidence of socialism with Chinese characteristics;earnestly establish the belief that“only socialism can save China,only socialism with Chinese characteristics can develop China.”
文摘This paper explores the historical discourses of body and space and examines the ways body and space were linked to discussions about collectivizing and individualizing tendencies of radio broadcasting.This discourse is reconstructed by comparing the writings on radio play aesthetics by the Jewish media scholar Rudolf Arnheim and the Nazi theorist Richard Kolb.My study shows that,contrary to the conception of radio as an apolitical“instrument of culture”(Hans Bredow),Arnheim and Kolb stressed socio-political implications of aesthetic decisions in radio art.By analyzing them,this paper contributes a nuanced understanding of discussions on the politicization of radio.
文摘Water under Time, the novel by the reputed Chinese fiction writer Fang Fang, appropriates and reconstructs the conventions of the hysteric narrative as an affective form of feminine history telling and writing. The novel, which accounts Hankou city＇s past through the heroine＇s life story, illustrates how feminine hysteria provides a gendered lens of reconstructed historical authenticity via the panorama of China＇s early Republican period, the anti-Japanese War, and the present new millennium. Transcending the official historical accounts, Fang Fang＇s narrative features women＇s innovative reconfiguration of contesting historical discourses about the city, the community, and the nation. This study of Water under Time suggests that women＇s explorations of hysteria actually surpass the psychoanalytical reading of hysteria as paradigms of feminine bodily, sexual, and social abjection, and instead envisions it as a validating narrative aesthetic which carries the potential to rewrite the boundaries of gender, nation, and history.
文摘Clouds are often appealed to when an objection is raised to the rationalist knowledge paradigm of the clear and distinct,as formulated by Rene Descartes.In such cases,clouds serve to establish an anti-classically oriented,non-hierarchical and non-determinative,chaos-theoretically informed counter-paradigm.Itself informed by this tendency,this essay proposes to examine clouds as an epistemological challenge,capable of exposing specific tensions in science,philosophy,and art alike.These fields negotiate questions of perception and representation,hence aesthetic problems,on the basis of which this contribution formulates an“aesthetics from below.”Such an aesthetics does not proceed from aesthetic theories,nor is it based on fuzzy concepts;rather,it begins with reflection on perception-based experience and specifically historical artifacts and seeks to lead these toward the work of theory.In this essay,this is accomplished through an examination of the significance of clouds in Siegfried Kracauer’s philosophical reflections on history.
