中外舞蹈“反向交替”现象的启示

中国与西方舞蹈史有一奇特现象:中国现当代舞蹈创作以叙事性为主流,并奉行现实主义理论,恰与西方20世纪前的“模仿论”时代相似;而西方20世纪后的抽象表现主义,恰与中国古代抒情性舞蹈的大写意雷同。它证明表现主义与再现主义均为人类舞蹈必经之路,不能以此论先进与落后,两种现象在实践中也常是你中有我,我中有你。在当下全球化时代,两种倾向必定能够共存,为我所用。

新疆民族式小刀装饰研究

本文从新疆民族式小刀工艺制作、装饰造型、图案纹样等方面进行探讨,研究地域文化、东西方文化、宗教文化对其影响所形成的装饰理念,从而探讨新疆少数民族装饰的独特面貌。

The Differences Between Aesthetic Emotions and Life Emotions

This essay talks mainly about the differences between aesthetic emotions and everyday emotions.Firstly we need to be sure that the work of art has something to do with emotions both of artists and audience.The paper tries to prove this from the perspectives of expressionism,formalism and representationalism.Then the paper differentiates the two kinds of emotions from three aspects.Audience need to keep psychical distance from arts,contemplating art in a disinterested way and use imagination to arouse the aesthetic emotions.Although aesthetic emotions are different from everyday emotions,there are some relations between them.The meaning of appreciating works of art is mainly to realize much more delicate or significant emotions that we could not or do not want to acquire in our limited and realistic daily life,through which we broaden our lives and know more about ourselves and the world we live in.

艺术的“再现”和“表现”——中西方艺术本体论的观念演变及差异评述

传统艺术理论中,常以“再现”或“表现”言说艺术的本质,本文即试图以“艺术再现论”和“艺术表现论”来概括比较20世纪以前的中西艺术本质论,并从不同的文化传统、思维方式等因素出发探究“再现”“表现”在中西方的差异,以期更好地理解“再现”和“表现”。

在对潜意识的探索中追问电影的本性——关于费里尼导演作品分期问题的研究

国际评论界对费里尼导演的24部作品一直没有完成分期工作,笔者在系统分析其所有作品的基础上,按照主题、叙事结构和表达原则相结合的标准,将它们划分为三个时期。早期7部作品的故事以情节为主体,讲述欲望与伦理的外在冲突以及欲望与道德的内在冲突,基本采用再现性的表达原则;中期4部作品以情境为主体,在再现欲望与道德的冲突过程中,探究欲望的潜意识成分;后期13部作品在延续前期主题的基础上,发展出时代堕落和艺术拯救两个变体,情境的比例发展到极致,表达原则基本是表现性的。