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文化艺术研究

文化艺术研究

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Studies in culture & art
《文化艺术研究》是经国家新闻出版总署批准、浙江省文化厅主管、浙江省文化艺术研究院主办、国内外公开发行的文化艺术类综合性学术期刊，于2008年7月正式创刊，刊期为季刊。自创刊以来，《文化艺术研究》秉承着传播优秀文化艺术研究成果、推动文化艺术繁荣发展的办刊理念，立足全国、放眼世界，始终坚持以学术质量为核心，注重原创性与思想性相结合、理论性与应用性相统一，严格把握论文审核关和编辑出版关，坚持贯彻三审制，实行双向匿名审稿制度。
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  • 主管单位：浙江省文化厅
    主办单位：浙江省文化艺术研究院
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文化艺术研究 >2021年第6期

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  • 摘要：古人所谓“宫调”从理论上讲，应该有八十四宫调，但实际应用的并没有这么多。在中国古代，宫调广泛运用于多种与音乐相关的艺术作品之中，而诸宫调和元曲都是其中最有代表性的艺术品种。同时，何种宫调适用于何种曲牌，也具有一定的规律性。因此，探讨宫调、诸宫调、元曲宫调之间的关系，进而探讨宫调与曲牌之间的关系，是一项很有价值的工作，也是深入研究诸宫调和元曲这两大艺术形式必须具备的基础。%Theoretically, there should be eighty-four types of Gong tunes, while much less than this number are applied in reality.Gong tunes were widespread in many kinds of art and literary works in the ancient China, of which “Literary Gong Tunes” and“Melodies&Tunes in Yuan Dynasty” were the most typical types.Meanwhile, there are laws and rules when a certain kind of Gong Tunes mat-ches a specific type of Melody & Tune in Yuan Dynasty.Therefore, it is worthy and valuable to study the relationship among Gong Tunes, Literary Gong Tunes and Gong Tunes of Melodies &Tunes in Yuan Dynasty, further more, to discuss the link between Gong Tunes and Types of Melody is also significant, as it lays the foundation for further study on Melody Types and Melodies&Tunes in Yuan Dynasty.
  • 摘要：乔治·艾略特一生游历欧洲，期间与诸多艺术家的人生奇缘使她与荷兰风俗画、前拉菲尔画派、英意肖像画等艺术结下不解之缘。其艺术的“诗如画”之视觉观念始终贯穿于其创作实践。本文基于文献、笔记、日志以及艺术评论，就艾略特视觉观念及其艺术品位做一研判。%George Eliot traveled around European Countries all through her life, during which her life story with a myriad of artists made it possible for her to be preoccupied with Dutch paintings, Pre-Raphaelite paintings, British and Italian portraits as well.Her visual tendency of as is painting so is poetry penetrates her literary practice.This paper attempts to explore her visual perception and visual preference based on her literature, survival diaries, notes and artistic reviews.
  • 摘要：按照2000—2012年全国文化投入平均增速自然增长，2020年全国文化投入增长目标可达到8732.93亿元；实现产值→财政支出→教科文卫投入→文化投入历年各项最佳比值应然增长，应达到12224.96亿元；进一步实现文化投入与消费同构占比平衡民生增长，应达到18913.88亿元；最后实现文化投入均等化理想增长，将达到23024.72亿元。以到2020年所需年均增长率衡量各类增长目标绝对距离分别测算各省域排行：北京、上海、西藏、新疆、海南排在最佳比值增长目标前5位，西藏、新疆、海南、北京、甘肃排在同构占比增长目标前5位，西藏、北京、内蒙古、青海、新疆排在均等化增长目标前5位。%Based upon the average growth rate of “natural growth” from 2000 to 2012 , the expec-ted target of countrywide culture investment growth should be 873.293 billion yuan;if it should get the ought-to-be growth at the best ratio over the years in terms of the production value, the fiscal ex-penditure, the ESCH investment and the culture investment, it would reach 1222.496 billion yuan;if the balanced isomorphism proportion of cultural investment and consumption should come true, it would reach 1891 .388 billion yuan;if the ideal growth of the equal culture investment should real-ize, it would be 2302.472 billion yuan.By using the required annual growth rate to 2020 to measure the absolute distance of all kinds of growth target, ranking of the various provinces is as follows:Beijing, Shanghai, Tibet, Xinjiang, Hainan rank top five in the best ratio growth target; Tibet, Xinjiang, Hainan, Beijing, Gansu rank top five in the growth target of isomorphism proportion;Ti-bet, Beijing, Inner Mongolia, Qinghai, Xinjiang rank top five in the equal growth target.
  • 摘要：Fuzi, as the set patterns to support performance of Lutou Plays, is relatively stable due to the fact that the shared understanding of viewers and performers has been reached out of constant in-teraction and long-term inheritance.While as a type of oral culture, Fuzi's built-in power is vari-ation.It's born in improvisation and impromptu employed in story structures.It keeps evolution in improvised creation and just as seven musical notes made into sweet melodies, have infinite possibil-ities, which makes the basic attribute of Fuzi.%作为支撑“路头戏”表演的主要“套路”———赋子，一方面通过长期的积累传承和与观众的不断互动，已逐步达成了观演双方基于“既定标准”的共识，具有相对的稳定性；另一方面，作为口头文化的赋子，变化是贯穿其存在发展所不容忽视的一个内在动力。赋子产生于即兴表演的过程，也即兴套用在故事结构当中，更在即兴创作中不断发展。其可变与灵活运用的因素如同七个音符般可以幻化出美妙的音乐旋律，具有无穷的可能性，而这本身也是作为程式的赋子的根本属性。
  • 摘要：From Weijin, Tang, Song Dynasties to Yuan Dynasty, along with change of time, the cultural image of Wang Xizhi have been constantly shifting and being reconstructed.From a Neo-Confucianism character with a profound metaphysics meaning in Weijin Dynasty to a role model of Confucian in Tang Dynasty, from an idle figure converting to Zen in Song Dynasty to Confucian rep-resentative after Neo-confucianismization in Yuan Dynasty, to some extent, a calligrapher’ s cultural image keeps being reshaped in various times, even in different stages of one era.Therefore, to study thoughts on the acceptance of Wang Xizhi’ s calligraphy has to be put in the specific historical back-ground to ensure objective research and pursuit.%从魏晋、唐、宋至元，随着时代的变迁和更迭，王羲之的文化形象在不断地转换和重塑。从魏晋玄意幽远的“新道学”形象、唐代儒家道统的楷模、宋代化道入禅的萧散形象到元代理化了的儒学代表，可以说，同一书家的文化形象在不同的时代，甚至同一个时代的不同阶段是被不断重构的。因此在对王羲之的书法接受进行思想衍说时，需要将其纳入到特定的历史原境中，进行客观的研究和追寻。
  • 摘要：活态保护是非物质文化遗产保护的重要出发点和落脚点，而生产性保护是促进非物质文化遗产活态保护的重要手段。目前，文化部积极实施国家级生产型示范基地评审，以促进生产性保护方式在非物质文化遗产保护中的探索和运用。本文以杨家埠木版年画为个案，探讨生产性保护实施、影响以及存在的问题，这些问题不仅仅是个案问题，也是当前非物质文化遗产生产性保护普遍存在的问题。%Living protection is where intangible cultural heritage protection starts and ends, while productive protection is designed to enhance intangible cultural heritage living protection.At pres-ent, the Ministry of Culture has been actively implementing evaluation of the state-level production demonstration bases to facilitate further exploration and application of productive protection in intan-gible cultural heritage.This paper studies wood engraving new year paintings of Yang’ s Pier and discusses implementation, effects and problems of productive protection.Those issues aren't alone, but universal in intangible cultural heritage productive protection.
  • 摘要：董每戡先生是我国现代著名的戏曲史专家、戏曲理论家和剧作家，有《中国戏剧简史》《西洋戏剧简史》《五大名剧论》《<琵琶记>简说》和《<笠翁曲话>拔萃论释》等重要著作留世，他的戏曲研究以浓烈的舞台意识为其剧学核心，并以此为指导展开对中国戏曲起源的论争，对《琵琶记》的研究和对李渔的研究等，在学术界独树一帜。然目前学术界对其研究只是针对个别专题进行论述，或是宏观的粗略把握，大多也都是在综合论著中涉及。故关于董每戡尤其是其剧学研究，还有很大的挖掘空间，也有很大的学术价值。%Mr.Dong Meikan is a renowned expert in traditional opera history and theory, play-wright, left with Brief History of Chinese Traditional Opera, Brief History of Western Drama, Re-view on Five Famous Plays and so on.His study was extremely stage-conscious and expanded argu-mentation on the origin of Chinese drama.His studies in Legend of Pipa and Li Yu developed a school of his own.However the present academic circle only touches either his individual topics or general pictures, most of which were referred in comprehensive publications, thus reserves room and academic significance to be recognized in Dong’ s study in traditional opera.
  • 摘要：To Mongolian Nationality Movies, the year of 1985 is both a time concept and mark of movie aesthetics transformation.This paper discusses Mongolian Nationality feature movies from 1949 to 1984 from perspectives of narrative characteristics and camerawork aesthetics and argues that there’s a built-in link between ethnic creators’identification and artistic style of this kind, and indi-cates the following features:the country image and destiny are closely tied;personal experience and national awakening overlap;political words and ethnic customs incorporate, others’ perspectives and national self-reflection intermingle.As for aesthetic of camera language, those movies follow the principles of objectively recreating life and the consistent realism expression lies in agreements of time and space, time and progress, time and behaviors.This paper holds that restricted by time context, Mongolian movies have historical limits.However, the rich practice offers ethnic movies valuable experience.%1985年对内蒙古族题材电影而言，既是时间意义的概念，又是一种电影美学意义的标志。本文主要探讨的是新中国成立后到1984年间的蒙古族题材故事片。这一时期，蒙古族题材电影的主创人员大都是内蒙古或内蒙古籍的艺术家，蒙古族艺术家占大多数。从电影美学的视角看，这一时期的蒙古族题材影片有着大体一致的范式特征，可以作为电影的一种时代景观进行观照，体现在：“主旋律”影片占绝大多数，其余片目虽与“主旋律”有一定的距离，但主流的价值取向趋同；为数不少的蒙古族身份创作者加入进来，让自我叙述成分为许多影片增添了独特的艺术魅力，但影片在叙事本质上还是他者视角，受时代语境的约束，只能站在中国的大时代背景和主流意识形态的立场讲述蒙古人的故事。其三还体现在镜头语言的运用上，总体而言是坚持现实主义的、以真实性为核心的美学原则，镜头中的时空要旨，事件进展的结构方式，画面构图的布局等形式要素，均以追求真实地再现客观生活为基本准则。老电影的镜语美学特征势必有历史局限，但它们为中国新时期后蒙古族题材电影乃至少数民族电影提供了许多宝贵的经验。
  • 摘要：This essay puts forward the concept of cognitive cultural hegemony through reconciliation of Raymond Williams’ s concept of cultural hegemony and a notion of embodied cognition.Combined with the cognitive linguistics and philosophical ideas of George Lakoff and Mark Johnson, it probes into Willism’ s understanding of Gramsci’ s terms.It borrows from the work of cognitive anthropolo-gist Bradd Shore the cultural mode to explain how external cultural practices get processed and repro-duced in the internal workings of the mind/brain, in order to gain an adequate cognitive approach to the historical dynamics of cultural hegemony.Finally, this essay draws on examples from the au-thor’ s work to suggest how a cognitive approach to cultural hegemony can help theater historians un-derstand Broadway theater in the United States during the 1950s.%本文将雷蒙德·威廉姆斯的文化霸权观与具身认知的概念相结合，提出认知文化霸权的概念；吸收了乔治·莱考夫与马克·约翰逊的认知语言学与哲学观点，以此来分析威廉姆斯对葛兰西所创术语的理解；借用认知人类学家布兰德·肖尔著作中的观点，用文化模型来解释外在的文化实践如何在内在的思想／头脑运作中加工与再生产，以获得对文化霸权的历史动力恰当的认知方式；最后，通过作者著作中的例子，探究对文化霸权的认知方法如何帮助研究剧院历史的学者理解20世纪50年代的美国百老汇剧院。
  • 摘要：Nanjing, with a long history since its construction, has been a center for spread and re-search of southern China and even Buddhist culture.Nanjing blessed with abundant tourism re-sources, has retained a lot of material culture and Buddhist spiritual culture.Though with higher reputation and better group advantages compared with counterparts, in the new situation, some pro-grams are behind the times and faced with competitions from large Buddhist landscapes, thus the whole Nanjing Buddhist cultural tourism market is challenged.By systematically reviewing Nanjing Buddhist cultural resources remains, and in depth analyzing the internal strengths and weaknesses and external opportunities and threats, this paper argues that to transform Nanjing Buddhist cultural tourism resources requires raising sightseeing reputation, promoting cultural identity tours for over-seas visitors and initiating Buddhist experience tours.%拥有悠久建城史的南京一直是江南乃至中国佛教文化传播和研究的中心之一。南京佛教文化旅游资源丰富，有着大量物质文化留存和浓厚佛教精神文化氛围。虽然南京佛教景点拥有较高的知名度和源于其他类型景点的集团化优势，但在新形势下，一些旅游项目的相对陈旧和来自大型佛教景观的竞争，也使得南京佛教文化旅游市场面临挑战。通过系统考察南京佛教文化资源留存，并在深入分析南京佛教文化资源的内部优劣势以及外部机遇与威胁的基础上，应当在提升观光游知名度、促进境外游客文化认同游、开创佛教体验游三方面推进南京佛教文化旅游资源的转化。
  • 摘要：近年来，蒙古国与其他国家合作拍摄的影片陆续发展，并且这些影片一般较多选择蒙古族历史上最为耳熟能详的成吉思汗题材，从而使该国电影以及表演体系出现多元或者说是“无名”状态。本文通过对《蒙古王》《成吉思汗的意愿》和《十勇士》这三部代表性影片进行表演文化分析，认为合拍片格局下的蒙古国电影表演策略主要体现为他国表演模式的在地化、“模糊表演”的静态表征、原生模式等三种形态，同时提出在相对自由的合拍电影表演环境下，应该最大限度地把握既有的有效表演传达路径，从表演美学破局，使影片质量及其市场保有量有更大的上升可能。%In recent years witness more co-productions between Mongolia and other nations whose content is often related to renowned Genghis Khan in Mongolian history, so its movies and perform-ance system turn out diverse or“unnoticed”.This paper analyses performing culture of“Mongolian King”,“Genghis Khan’ s Will” and “Ten Warriors” to put forward the view that in co-production settings, Mongolian movies performance strategies feature localized performance patterns of other countries, static characterization of“obscure performance” and native mode and propose that profes-sionals should maximize effective methods available of delivery and take performance aesthetics as the breaking point to improve movies both in quality and market tolerance.
  • 摘要：随着蒙古族题材电影的产生和发展，以及电影创作观念和视听语言的精进，蒙古族题材电影音乐也呈现出一种历史的发展变化过程。早期的蒙古族题材电影音乐主要是民族风情的铺陈和标示，突出地表现为音乐“成品”的挪用或电影创作歌曲的大量使用。20世纪80年代以后，蒙古民族音乐素材得到广泛运用，蒙古族题材电影音乐更彰显出鲜明、独特的民族音乐个性；且在影片的音乐结构上日趋成熟；在音画结合上，逐渐摆脱简单地“音配画”的局限，开始重视电影音乐的造型作用。进入21世纪以来，蒙古族题材电影音乐呈现出向原生态音乐回归的趋势。更加注重音乐向叙事的渗透，重视深层的民族文化心理和情绪的刻画；在纪实性风格的影片中，更多地以生活要素和心灵咏叹的方式还原音乐的原初状态，以诗性的气质柔化了硬朗、粗粝的影像风格。%With production and growth of Mongolian Nationality movies, along with more advanced creation concept and audio-visual language, its music also evolves.Mongolian Nationality movie mu-sic in the early times, centered around description and labels of ethnic customs, mainly presented the borrow of finished music works or heavy use of original movie songs.In new era, Mongolian Na-tionality musical material has been widely used, revealing distinctive ethnic music features.With re-gard to musical structure, it turns mature.As for audio-visual counterpoint, it breaks the limit of au-dio-matching-visual and values profiling of music.In the 21st Century, Mongolian Nationality movie music begins to return to the original, with focus on musical influence on narration and depiction of underlying ethnic cultural mentality and feelings.More documentary movies employed life elements and expression of emotions to restore the natural condition, whose poetic charm softened tough image style.
  • 摘要：The establishment of director center system of Chinese opera benefited from the spread of the Stanislavsky system and Chinese drama theories influenced by the Stanislavsky system.In this process, Chinese opera drew the artistic integrity of performance into its own concept system.To di-rector center system of Chinese opera, this is the most significant influence of the Stanislavsky sys-tem.Meanwhile, the Stanislavsky system also impacted the acting of Chinese opera, especially in the aspect of helping the average actors experience and get into roles.And the similarities between the acting system of Chinese opera and the Stanislavsky system allow the former to learn from the lat-ter.However, as the learning deepening, the directors of Chinese opera are beginning to realize that learning must be on the basis of Chinese opera itself, that is, stick to the acting system of Chinese opera in which the formulated movements are the most important.Only in this way could the direc-tors find the foothold of the chinization of the Stanislavsky system.%戏曲导演制的确立得益于斯坦尼斯拉夫斯基体系的传播以及受斯坦尼体系影响的话剧理论，而其中的关键是戏曲从两者中引入了“演出的艺术完整性”这一观念。于戏曲导演制而言，这是斯坦尼体系最主要的影响；同时，斯坦尼体系也影响了戏曲表演，主要表现在帮助一般演员体验和进入角色上。戏曲表演经验与斯坦尼体系在观念和技术上相通或相似之处使戏曲可以借鉴斯坦尼体系；又因为一般戏曲演员更多地忽略了内心技术的掌握，因此，戏曲才需要借鉴斯坦尼体系。在这个过程中，戏曲导演逐渐认识到：借鉴必须坚守戏曲本位，而坚守戏曲本位则必须坚守表演本位，坚守表演本位又必须坚守程式本位。如此，才找到了斯坦尼体系中国化的立足点。
  • 摘要：宣景琳是中国电影界名副其实的前辈。自1925年在上海滩蹿红之后，她成功地塑造了一系列鲜活而典型的角色。在新旧观念并存的20世纪二三十年代的上海，新的道德观念与传统思想在传媒空间中进行着激烈的撞击。青楼女子出身的女明星宣景琳，无疑是窥测该时期上海暧昧的社会伦理思想的最佳研究对象。从有中国近代史研究“百科全书”之称的《申报》中梳理出宣景琳演艺的相关报道，可以探讨上海大众传媒是如何构建上海的“当代性”及营造出一个探讨社会伦理和道德的公共空间的。%Xuan Jinglin was an indeed forerunner in China’ s movie business.Since she gained im-mediate fame in 1925 in Shanghai, she managed a number of vivid and typical roles.In Shanghai in the 1920s and 1930s where old met new, latest moral ideas and traditional thoughts fiercely colli-ded.Originally as a prostitute, Xuan was the best study subject to peek into social ethics related to romantic involvement with no doubt.This paper straightens out relevant reports on Xuan’ s acting career from Shun Pao, claimed as encyclopedia of Modern China history, in order to study how mass media in Shanghai constructed contemporaneity and created public space to discuss social ethics and morals.
  • 摘要：Hannibal Series was a about the transformation journey of a psychiatrist into a serial kil-ler.The last episode Hannibal Rising attempts to settle his trauma by revealing his growth, which indicates how wars left a scar on one’ s mind.Ms Purple played by Gongli exerted profound influ-ence on his growing up, from which how the West pictured the East could be perceived, and how the latter descended to the other.This paper analyzes eastern construction from both sides, and how western commercial movies approached audience’ s psychology by applying movie culture.%“汉尼拔系列”电影讲述了一个精神病医生如何成为“食人魔”，以及他在狱中帮助警察破案的一系列经历。影片最后一部《少年汉尼拔》试图从主人公的成长经历展示他的精神创伤，表现了战争对人精神的伤害。在影片中，巩俐饰演的日本紫夫人对汉尼拔的成长产生了深远影响，从这一形象的塑造我们可以看出西方如何想象东方，以及如何将东方沦为“他者”。本文重点对影片中西方对东方的构建进行分析，从而对西方商业电影如何运用电影文化影响观众心理做出解读。
  • 摘要：2014年中国曲艺的创作表演、学术研究、艺术传承和文化传播等都出现了较为活跃的局面，尤其是全国性的展演交流和业界的评选竞赛频繁而集中。但是，表面活跃的背后隐藏着不少隐忧，积极努力的效果并不尽如人意。特别是艺术传承的艰巨任务和文化传播的尴尬局面，使得业界内外对曲艺本身的规律性认识包括基本知识的普及严重滞后，并成为直接掣肘曲艺在当今健康持续发展的主要根由。而精品力作的欠缺与优秀人才的匮乏更是影响曲艺发展的两大主要瓶颈。尊重曲艺艺术规律，矫正曲艺创演观念，强化曲艺文化传承、培养曲艺专业人才，成为中国曲艺当代发展的主要任务。%Over the past 2014, there ’ s lively market in creation, performance, academic ex-change, artistic inheritance and cultural transmission, especially national exhibitions and contests are frequent and concentrated.However, there’ re concerns behind dynamics and those efforts wer-en’ t so desirable.The painstaking task of artistic inheritance and embarrassing situation of cultural transmission resulted in the fact that both inter-industry and intra-industry know little about regularity of Quyi including basic knowledge, which hinders the sustainable growth of Quyi.Two major bottle-necks are shortage of quality productions and talents.The major missions involve respecting art rules, correcting composition concepts, promoting cultural inheritance and fostering talents.
  • 摘要：The spread and acceptance of Lady Windermere’ s Fan of Oscar Wilde was related to Hong Shen who adapted it into the stage play Lady Windermere’ s Fan.In his revised translation, characteristics were simplified, and the theme was turned into moralization rather than sarcasm.This drama was adapted to film in 1928.Based on references available, characters were symbolized by stars in the film, methods employed like montage and flashback enriched approaches other than lan-guage.These adaptation can be viewed as acceptation and elucidation of the original work, in which both personality and themes have changed.It was misreading that enables significance of this work to extend and accumulate, resulting in winding effect history.While Chinese films draw on cultural resources from other culture and media, thus more diverse Landscape.%英国作家奥斯卡·王尔德的名剧《温德米尔夫人的扇子》在中国的传播和接受与洪深有着密切的关系。1924年，洪深将其改译为话剧《少奶奶的扇子》，在他的中国化改译过程中，人物性格更为单一，主旨由讽刺变为教化。1928年，他再次将这部作品搬上了银幕。从现存资料来看，这部电影中明星的使用使人物形象更为符号化，而镜头剪接和闪回等手段的利用使原先以语言胜出的故事有了不同的讲述手段。这两次改编可以视为外国文学作品的接受和阐释，人物和主题都发生了一定的变化，但正由于这样的“误读”，这部作品的意义得以生发和积累，构成绵长不绝的效果历史，而中国电影吸取了来自其他文化、其他媒介的文化资源，也有了更为丰富多元的景观。
  • 摘要：在西方批评者眼中，《白日焰火》是一部气质迷人却又令人困惑的影片。本文首先从其意味深长的结尾入手，尝试在黑色电影和作者电影的双重维度下挖掘其迷人和困惑的根源所在；继而试图在类型电影的基本框架内完成文本中现代主义三个特征的构建；在确认其影片风格时，最后强调了文化的重复利用对实践独特风格的可能。%To western critics, Black Coal, Thin Ice is entrancing and confusing.By studying the meaningful ending, the author explores the root in perspectives of film noir and author film, and fur-ther attempts to construct three characteristics of modernism within basic frame of genre films.Hav-ing recognized its style, the author emphasizes the possibility to employ distinctive features by re-peated appliance of culture.
  • 摘要：明初南戏是南戏发展的第二个阶段。这一时期产生了大量剧作，其中有全本留存者41种，全本已佚但尚有散出或零曲留存者36种，全本已佚者25种。%Southern Opera in Early Ming Dynasty is the second phase of its growth, during which a great number of plays came into being, among which 41 kinds are preserved as a whole, 36 kinds remain as pieces, and 25 kinds have been lost.
  • 摘要：1947to 1949 were memorized as the most splendid years in postwar domestic film market with the most number of quality productions despite shortage of films, scripts, restriction on foreign currency, film censorship and threat from western films.Meanwhile, campaigns between Chinese and Western film companies were at white heat.On one hand, each party has set up their own film projection and publication institution in an attempt to monopolize or expand theatre chain to strive for executive support.On the other hand, both competed for first-run cinemas in Shanghai.The final split resulted from benefits balance rather than fair play.%1947—1949年期间，尽管胶片荒、剧本荒、外汇限制、电影检查、西片威胁等始终困扰着民营电影业，但这几年仍然被标记为战后国产电影最辉煌的两年，甚至成为新中国成立前中国电影优秀出品最多的两年。与此同时，中外影片公司之战亦是火力全开：一方面各方都成立自己的发行放映机构，企图垄断或扩张院线，并争取获得行政力量的支持来减少自上而下的阻力；另一方面双方都将火力集中于对沪上首轮影院的争夺上，但最终形成的市场两分却并不是公平竞争的结果，而是由于动荡时局中多方势力纵横交织、利益制衡。
  • 摘要：本文以查尔斯·加尼叶的巴黎歌剧院为主要线索，提出剧场是再次呈现生活和宗教意义的建筑，并赋予剧场对人类精神的作用以极大的意义。阐明了剧场是西方建筑史上除教堂外又一主要的建筑类型。吸收了尼采对瓦格纳的歌剧作品和剧场的观点，解释了19世纪建筑文化领域的剧场性源自信仰的需求和建筑的本质，并概述了其拼贴、夸张、虚伪的特征。借用认知学中的图像背景理论，论述了世俗建筑与神圣建筑的辩证关系。通过论述剧场性与真实性、私有的与公共的、世俗的与神圣的、夸张的与实用的几组矛盾，提出了人类的理想和典范对主要建筑任务的重要性。%This essay, by taking Charles Garnier’ s Paris Opera as the main thread, puts forward that the theater is an architecture which re-presents lives and the significance of religions, and en-dues the function of the theater to human spirit with significant meaning.It illustrates that in the Western architectural history, except church, the theater is the leading architectural type.It ex-plains the theatricality of architectural culture in the 19th century, which is led by religious convic-tion and essence of architecture and outlines its quilting, theatrical, and hypocritical features.It borrows from the Figure-ground theory of cognitive science, and expounds a dialectical relationship between secular and scared architecture.It suggests the importance of human ideals to leading archi-tectural tasks, by emphasizing contradictions of theatricality and authenticity, private and public, secular and scared, theatrical and functional.
  • 摘要：“China Traditional Governance Resources and Modern City Administration” Seminar or-ganized by Zhejiang Academy of Culture and Art was held in Hangzhou on Nov.8th 2014, as the second round-table conference as part of the 8th consecutive forum“2014 Life and Evolution Interna-tional Symposium”.Centering around China Traditional Governance Resources and Modern City Ad-ministration, scholars gave presentations and exchanged ideas on China traditional “Family State”pattern and modern non-government organizations ( platforms ) with participation and compound modes, how scholars as carriers of interaction between nation and society in ancient times can inherit and expand in diverse governance emphasizing participation, the gentry governance in traditional so-ciety and negotiation administration in modern urban communities, China traditional rural govern-ance resources and rules in modern communities, China traditional governance concept inheritance and construction of China administration system, how China traditional culture can be inherited and developed in modern information society, put forward a number of brilliant arguments on issues such as historical background of modern society administration, methods and approaches of society admin-istration, support of reconstruction from traditional ethics, inheriting intangible cultural heritage in a dynamic way and countryside folklore religious governance, pros and cons posed by informationiza-tion on society administration, and proved fruitful to provide directional thoughts and methodology to city administration and society administration modernization.%2014年11月8日，作为已连续举办8届的思想性论坛“2014生活与发展国际研讨会”系列圆桌会议之二，由浙江省文化艺术研究院承办的“中国传统治理资源与现代城市治理”学术研讨会在杭州召开。与会学者围绕中国传统文化与现代城市治理这一主题，就中国传统“家国”模式和当代特色的参与型、复合型社会组织（平台），“士人”作为传统社会国家与社会互动的载体如何在当代多元参与型社会治理中传承与发展，中国传统社会乡绅治理与当代城市社区协商治理，中国传统乡村治理资源与现代社区“村规民约”，中国传统治理理念的传承与当代中国治理体系的构建，中国传统文化如何在现代信息化社会中传承与发展等问题进行了专题发言与深入讨论，对当代社会治理的历史背景、社会治理的方法和途径、传统伦理对道德重构的支持、传统文化活态传承与乡村民间民俗宗教治理、信息化对社会治理的利弊等方面进行了深入研讨，以借鉴传统、转型现代治理为核心，提出了一系列精辟论点，取得了丰硕的成果，为城市治理和社会治理现代化提供了方向性、方法论的探索和思路。
  • 摘要：文章从媒介研究角度对电子游戏音乐的传播现象进行研究，从传播主体、传播媒介、传播客体、传播效果等几个方面研究电子游戏音乐的传播活动。文章运用霍尔的“编码与解码”理论，从文本的生产与接受分析电子游戏音乐的传播模式，并举例探讨不同解码形态的电子游戏音乐在不同语境中呈现的文本特征，从而认为电子游戏音乐不仅是游戏的构建元素，也是游戏的文化符号。%This paper studies communication of video game music from media research perspectives and analyzes its transmission in aspects of communication subjects, media, objects, and effects. Based on Hall’ s theory of “encoding and decoding”, this paper analyzes transmission patterns of video game music in terms of text production and acceptance and gives examples of textural features of different decoding forms in various contexts, therefore video game music is not only a construction element but a cultural icons.
  • 摘要：南社文人洪炳文戏曲著述丰富，现存21种戏曲作品中，8种附有“凡例”。这些“凡例”可说是洪炳文的创作宣言，包含了他的创作思想和价值取向。处于时代之变的洪炳文在创作中体现出“现代性原则”，“凡例”中所形成的戏曲理论贯穿于其创作始终。洪炳文对民主自由、实用主义等思想的引介，对近代戏曲的变革产生了很大影响。%Scholar Hong Bingwen from Nanshe boasted abundant drama composition.Among 21 drama works, 8 are attached with notes which could be taken as declaration of creation, including creative thoughts and value orientation.In times of great change, modernity was reflected in Hong Bingwen’ s composition and theories taken shape in notes ran through his works.Hong’ s introduc-tion to democratic freedom and pragmatism had a profound influence on modern drama’ s innovation.
  • 摘要：The notion of catharsis, in relation to tragedy, was introduced by Aristotle in his work Poetics.Over the centuries, Aristotle’ s innovative and enigmatic reference to this process has been widely commented on and given rise to intense controversy.In 1895, Freud and Breuer reconsidered this notion in their Studies on Hysteria, where they present the so-called cathartic therapeutic meth-od.It is not, however, this aspect of psychoanalytical theory that the author of this article seeks to elucidate:drawing on a detailed study of the references to tragic catharsis in the work of Freud and Lacan, the author proposes to examine their implications for psychoanalytic treatment.With specific reference to Freud’ s article “Psychopathic Characters on the Stage” (1905) and Lacan’ s commen-tary on Sophocles ’ Antigone ( 1960 ) , the author argues that catharsis is to be understood not so much as a mechanism of discharge linked to abreaction, but rather as the actual analytic process it-self during which the subject is“unveiled” and thus faced with the enigma of his own desire.%和悲剧有关的净化概念，是亚里士多德在其著作《诗学》中提出的。几个世纪以来，这一创新而又让人费解的概念引发了广泛的评论和激烈的争议。1895年，弗洛伊德和布洛伊尔在他们的合著《歇斯底里研究》中重新考虑了这一概念，并提出了名为“宣泄净化疗法”的治疗手段。本文在仔细研究弗洛伊德和拉康关于悲剧净化理论的作品的基础上，考察了其对于精神分析治疗的隐含意义。本文引用了弗洛伊德《戏剧中的变态角色》（1905）和拉康对索福克勒斯的《安提戈涅》的评述（1960），意图论证净化理论与其说是一种与精神发泄有关的释放机制，倒不如说它本身就是一个实际的分析过程。在此过程中，主体被揭示，并得以直面自己神秘的欲望。
  • 摘要：本文对苏州弹词唱腔中的三个腔系，即陈调、俞调、马调进行音乐分析，认为陈调和平湖调较为接近，可能为平湖调系统的一支；俞、马调同属徵调系统，与周围的宣卷因果有很大关系。俞、马调的区别不在骨干和核心曲调，而主要在歌唱；俞、马调中的过门有较强的宫调色彩，很可能受到“弹词家开场白之前，必奏‘三六’”的影响。通过分析可以推测，苏州弹词唱腔中的陈调建立在乾隆之前以平湖调系统为骨干的曲调上，乾隆之后，苏州逐渐取代杭州成为江南弹词的代表，曾占主流地位的平湖调影响逐渐缩小，而后出现了具有浓郁苏南（及苏北）色彩的俞调和马调，给苏州弹词音乐带来了新的色彩。苏州弹词音乐善于吸收融合，紧跟时代潮流，以听众的审美为创新出发点，特别是清末流入上海之后，苏州弹词音乐有了更大的发展，造就了苏州弹词丰富的唱腔和纷呈的流派。%This paper analyzes three tune systems in Suzhou Tanci, Chen Tune, Yu Tune and Ma Tune, and concludes that Chen Tune is close to Pinghu Tune, probably a branch of Pinghu Tune, while Yu and Ma belong to Hui Tune System.The difference between Yu and Ma lies in singing rather than structure or melody.The bridge passage of Ma Tune is influenced by Going Tune.After thorough research, Chen Tune was based on the system developed from Pinghu Tune before the reign of Qianlong.After that, Suzhou replaced Hangzhou as the representative of Jiangnan Tanci, and the previous mainstream Pinghu Tune was diminished.Yu and Ma with strong southern Jiangsu ( and northern Jiangsu) flavors flavored Suzhou Tanci which excelled in absorbing and infusion, keeping updated with the times, innovating based on audience ’ s aesthetics.Having been introduced to Shanghai, Suzhou Tanci witnessed a bigger leap and created even richer tunes and diverse schools.
  • 摘要：20世纪30年代的定县戏剧试验是中国现代戏剧史的独特现象，研究者较多，但常常忽略它自成一格的生成过程，一些重要问题仍语焉不详：它究竟应被视作戏剧教育运动还是艺术革新先锋？作为戏剧大众化的典范，它又是如何理解和表现“大众”的？对此，考察定县戏剧试验在创作上的衍变极为必要，内容和形式的更迭、联系凸显了定县戏剧试验的重心，即构建一个群己相维的乡村公共空间，把演出空间和剧场观众的劣势转变为优势，在此过程中，“大众”不再是下层启蒙者发现的风景，而就是戏剧自身。%The theatre experiment of Ding County in 1930s is a unique phenomenon in the history of modern Chinese drama.Researchers have been quite a few, but often ignore its self-contained gen-eration process including some important issues.Whether it is should be regarded as a dramatic edu-cation campaign or a pioneer of artistic innovation?As a model of the drama popularization, how it understood and presented the public?To address these issues, it is extremely necessary to study the theatre experiment of Ding County in the evolution process of the creation.The change and contact of the work highlights the core objective about the theatre experiment of Ding County, that is, to build a countryside public space that has been supported by each other, and change the disadvanta-ges of the theatre space and audience into advantages, during which the public is no longer waiting to be found by the enlighteners, but drama itself.
  • 摘要：电视的发明本身就是现代科技的直接成果，而电视文艺的发展必然与科技的日新月异同步，一定的技术手段是实现导演构思、增添电视艺术魅力的关键。技术为以影像的方式欢度春节提供了可能。其中，现场直播技术为春晚仪式思想的形成奠定重要的形式保障，同时，春晚也在演播空间的不断扩张中生成独具魅力的电视（技术）美学意蕴；而春晚的奇观化则使观众产生异质的视觉审美心理状态与价值取向，体现为一种高峰体验的欢悦。%The invention of television itself is a direct result of modern technology , and the develop-ment of television arts necessarily synchronized with the changing technology.A certain technical method is the crucial power to achieve the conception of the director and illuminate the art of the tel-evision.Technology makes it possible to celebrate Chinese New Year with images, among which the technology of live broadcast establishes an important formal security to form the ideology of Spring Festival Gala.Meanwhile, Spring Festival Gala generates unique charming TV ( technical) aesthetic implication in the process of expanding the studio space of the show.In addition, the spectacle of the show is to make the audience engender the heterogeneity of visual aesthetic and psychological state values, which is reflected as the joy of peak experience.
  • 摘要：The historical function of the Silk Road is a big topic.There have been quite a few stud-ies but not many are discussed from the perspective of macro-history and cross-culture.This paper introduces some of the major ancient passageways for business and trade across Europe and Asia in the history of human civilization, discussing the historical function of the ancient Silk Road in the development of China' s culture and progress of human civilization from a macroscopic cross-cultural horizon, putting forward six new arguments and insisting that the strategy of"the Belt and Road" is an inheritance and development of the historical mode of cultural communication and mutual ex-change co-created by the countries and nations along the ancient Silk Road.%丝绸之路的历史作用是个大题目, 以往的研究不可谓少, 但从大历史、 跨文化视角进行系统探讨的却并不多. 本文介绍了欧亚大陆早期人类文明交流互鉴史上的几条主要商贸通道, 从宏观的跨文化视域就古代丝绸之路对中国文化发展和人类文明进步所发挥的历史性作用进行了分析, 提出了六大新论点, 并认为 "一带一路" 战略是对古代丝绸之路沿线各国和各民族共同创造的文化交流互鉴的继承和发展.

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