红色的美术史印——对新民主主义革命时期至改革开放前期有关主题性美术创作的综述

新民主主义革命时期至改革开放前期的美术创作可划分为三部分:首先,启蒙、探索阶段,即1921—1937年,主题为推翻旧的国家体制,以中国共产党领导的人民大众与帝国主义、军阀、国民党反动派的斗争为主线;其次,1937—1949年,是“艺术为大众”时期,以中国共产党领导的人民战争推翻反动统治为主线;最后,1949—1980年,新中国成立到改革开放前夕,遵从文艺“为工农兵服务”“为社会主义服务”的方向。

The Use of Hand Stamps in the Manuscript Maps Drawn by East Asian Countries in the Eighteenth and Nineteenth Centuries

It was generally accepted that manuscript maps,as distinct from printed maps,exhibited no signs of printing and were entirely hand-drawn.Western scholars Christopher Terrell and Tony Campbell were the first to break this stereotype in 1987,followed by Catherine Delano-Smith and Chet Van Duzer who discovered a few Renaissance maps and two Qing dynasty maps that showed use of hand stamps.Inspired by these findings,this paper explores the stamped map signs in ten Chinese maps,three Japanese maps,and three Korean maps.By analyzing each map and each type of stamp,this paper provides more examples of this research,broadens the research horizons and geographical area,and demonstrates that use of stamps in manuscript maps was invented independently among people of different regions and civilizations as a result of human nature.

A Political Aspect of the Korean Wave in Taiwan

Studies of the Korean Wave in Taiwan have construed the genesis of the Wave as either accidental, evitable, or taken it for granted. Problematising the genesis of the Korean Wave in Taiwan, the paper proposes to see it as the product of social and political forces pertaining to a specific moment of history of Taiwan. Other than deeming the genesis categorically as a cultural instance, it argues that the Wave is in effect the production manufactured at the convergence of social political changes at a historical moment unprecedented in Taiwan history. To respond to the new social and political conditions, the Korean Wave is deliberately appropriated as the extension of social institution and political control for the purpose of prolonging class interests of the traditional rulers. By means of mammoth circulation and transmission of print media and television broadcast, the Wave is immediately called into being and captivates a throng of Taiwan Residents audience. In return, the overwhelming popularity of Korean TV dramas is capitalized on politically besides socially and culturally in order to meet new needs. Resiting the Korean Wave in Taiwan in the social and political processes at the specific moment of Taiwan history, its genesis is thereby complicated and overdetermined on top of the advanced and promised drama qualities and productions. Inevitably a limited view, however, the paper is hoped to provide an alternative aspect to the studies of the Korean Wave either in Taiwan or other regions.

一位继父的生养与死葬

元月十三日,万荣县高村乡高村一家院子里,鼓乐不断吹奏,扩音喇叭播放着哀曲,门外亲友相继来临,原来是村民史淑珍安葬她亡故不久的继父。 史淑珍现年已五十多岁,还在幼儿时期,父亲便去世了。后经人说合,母亲与本村一位独身男子史天恩续为伉俪,入赘到家。淑珍长大成人后,与近邻史印才结为夫妻。不久,淑珍之母去世了。当时左邻右舍,议论纷纷。

用黑暗换心

有人在黑暗里"哇"地哭出了声,车志梅握紧了手中的盲杖,侧着耳朵听,"是我同屋"。几天相处,她已经熟悉了那个女孩,但这是她第一次凭借声音去认出一个人。过去她习惯了通过身份牌、长相、衣着、发型等一切可视的信息来记住一个人,但现在她只剩下耳朵。车志梅的这个体验来自于一家名为"黑暗中的对话"的社会企业。这个缘起于德国的体验式工作坊已经运营24年,遍及34个国家164个城市,为超过8000多位视障人士提供了工作机会,体验者超过800万。2010年。