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卡拉瓦乔,这位活跃于16世纪末至17世纪初叶的意大利的天才艺术家,因其大胆的革新精神成为17世纪最具影响力的画家,其强力的原创风格和个性化的艺术表现对欧洲现实主义美术的发展历程具有举足轻重的作用,而他在绘画上开创的一代之风,对整个欧洲艺坛都产生了巨大的影响。 相似文献
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黄忠晶 《商丘师范学院学报》1996,(1)
尼采被称为反道德主义者，他也这样自称。但他并非没有道德理想。尼采的道德观以强力意志思想为出发点，把强力意志作为道德和善恶的标准。凡是符合强力意志的，就是道德的，就是善；反之，则是不道德，是恶。尼采把道德区分为主人道德和奴隶道德，并在这两种道德的对比中阐明了他的道德观。他提倡主人道德，其本意在于造就一种新的理想人格；他对于奴隶道德的批判，有破坏传统旧道德的积极作用，但也包含着全盘否定历史上的道德遗产的倾向。尼采的新道德观同其审美人生态度和提倡酒神精神有着紧密的联系，他反对基督教对生命作伦理评价，认为生命本身是非道德的，超越于善恶之外。 相似文献
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蔡报文 《珠海教育学院学报》1999,(1):40-42
迄今为止,所有艺术是对世界的一种解释(包括评价),或说是一种结构(动词用)。而艺术与科学的区别在于,虽然科学从根本上讲也是对世界的一种结构活动,但科学家——活动的主体是一个纯粹理性的主体,他走向外在的客体,从不反观自我。而艺术家则不能,艺术家的光亮是由其感性点燃的,他在迈向周围的时候是以自我导航的,对艺术家而言,自我与世界不可分,他在挖掘身我的同时也就发现了世界。 相似文献
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黎鲲 《兰州教育学院学报》2014,(2):18-19,22
小说《饥饿艺术家》描述了一个对"饥饿艺术"爱得发狂的表演艺术家悲剧的一生。这位英雄式的艺术家是艺术的殉道者,他宁愿饿死也要捍卫人的尊严和艺术家追求艺术极境的权利。他似乎在隐喻着艺术家们在现代社会的命运。这篇小说一方面展现出一个荒诞、无情的异化世界,另一方面,饥饿艺术家本身也俨然是作家自身的写照。 相似文献
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小说《饥饿艺术家》写了艺术家从受欢迎到被人遗忘的过程,铁笼是饥饿艺术家的生活的空间,他拒绝与外在的世界交流,孤独地进行着饥饿表演。他的艺术得不到人们的认同,一直处于生存的被遗忘状态。艺术家坚持自己的选择,他的这一选择充满了荒诞性,同时也注定了他的悲剧命运。 相似文献
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付立春 《阿坝师范高等专科学校学报》2005,22(4):76-78
本雅明是文艺研究领域的一个关键人物,但他的艺术思想遭到了误解。其中,他的艺术本质和发展观就处于这样的遭遇。实际上,他的艺术本质观可以表述为:艺术就是艺术家的语言,就是艺术家的思想存在及内省的表达,就是一种行为、一种体验,一种审美意识,就是艺术家的本质。他比较倾向于浪漫主义。其艺术发展观则可概括为:艺术有生命,它的生命由“内生命”和“外生命”组成;艺术不会消亡;随着时代前进,艺术形式就会新生。他已认识到艺术形式的与时俱进性。 相似文献
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日本作家吉川幸次郎在翻译了丰子恺的散文集《缘缘堂随笔》之后 ,曾这样评价丰子恺 :“我觉得 ,著者丰子恺 ,是现代中国最像艺术家的艺术家 ,这并不是因为他多才多艺 ,会弹钢琴 ,作漫画 ,写随笔的缘故。我所喜欢的 ,乃是他的像艺术家的真率 ,对于万物的丰富的爱 ,和他的气品、气骨。如果在现代要想找寻陶渊明、王维那样的人物 ,那么 ,就是他了罢。他在庞杂诈伪的海派文人之中 ,有鹤立鸡群之感。”正如吉川幸次郎所说 ,丰子恺的确是一个真率的艺术家。他一生深受其恩师李叔同 (即后来的弘一法师 )的影响 ,始终铭记李叔同“认真做人”的遗训 ,… 相似文献
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赵国庆 《宁波广播电视大学学报》2013,(4):114-116,128
摄影艺术自出现以来,对绘画产生了很大的影响,给传统画家带来了集体的“创伤”。本文旨在“创伤”理论下对摄影与绘画的关系进行探究：一方面,摄影技术的日益发展,导致传统绘画的“丧失”;另一方面,绘画遭遇创伤后,开始自我“疗救”,使艺术家们不是放弃绘画,而是提供了一种条件和机会,使得绘画形式从传统到现代主义再到表现主义以至于到后现代,致使绘画脱离现实,走向一种不受技术干扰的形式。 相似文献
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The rhetoric of purity has been foundational in the visual arts of this century, particularly in the advent of abstract art. Is it still a potent discourse? There can be no question that contemporary artists address this issue. As examples, I analyze the relationships between Kazimir Malevich's art, especially his notion of the “supplemental element,” and new work by Taras Polataiko, who is “infected” by the earlier artist. I extend this analysis of medical discourses of infection, purity, and impurity to the group General Idea's recent manipulations of the images and ideas of the quintessential Modernists Piet Mondrian and Ad Reinhardt. My readings suggest that purity as a concept in the visual arts remains powerful — both in the genealogy of artists and in individual works — but in a mutated form. 相似文献
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戴海光 《三明高等专科学校学报》2008,(1):45-48
死亡一直是千百年来文学家追逐与书写的一个母题。在中国现代文学史上,曹禺的戏剧无论是《雷雨》、《日出》,还是《原野》、《北京人》,都存在着大量诸如自杀抑或其他死亡形式的书写,并在其死亡的叙述中,渗透了作者对于死亡的认知与思考,浸润了他独特的死亡意识。 相似文献
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祝鹏程 《内蒙古师范大学学报(哲学社会科学版)》2014,(3):91-96
在建国初的相声艺人改造中,为了将“思想落后”的底边艺人转化为社会可控制的力量,塑造符合新社会需要的文艺工作者,国家借助“恩威并施”的方式。既展示了党和国家的绝对权力,也改造了艺人的思想,并通过举办艺人讲习班等方式展开了对旧艺人的改造。经历了改造的艺人内化了国家的戒律,以主动“迎上”的姿态参与到了改造中,组织了相声改进小组,开展政治学习与业务提高的改进运动,并获得了初步的成功。 相似文献
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张亚楠 《南昌教育学院学报》2011,26(6):8-9
权力作为一个重要概念,一直为社会学所探讨和研究,但长久以来对于权力的认识可谓仁者见仁智者见智,未能有普遍统一的认识。在社会学发展过程中,很多名家都从不同角度对权力进行过深刻的解读,这对后来很多学者理解和阐释权力也产生了广泛而深刻的影响。本文试图对韦伯和福柯的权力观点作对比研究,以发现他们各自在权力问题上所作的探索,从而力求在实质上对权力概念有更为深刻的理解。 相似文献
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An experiment was conducted in which the face-name mnemonic was applied to the task of associating 14 artists' names with two styles of their artwork, portraits and thematic paintings. Following study of the 28 items, mnemonic students outperformed “own best method” control students on both immediate and delayed matching tests. Further, mnemonic students maintained that advantage on a two-day delayed “transfer” test that required the identification of “new” paintings by the same artists. In addition to replicating prior positive mnemonic artwork-learning findings, we found that thematic paintings are generally easier to associate with names than are portraits — likely because they are more distinctive, and because they provide a more “target-rich environment” for making mnemonic associations. Implications of our findings for remembering artwork and other picture-word content mnemonically in educational and real-world contexts are discussed. 相似文献
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Barbara B. Javore 《Religious education (Chicago, Ill.)》2013,108(4):409-419
Terezin, the gateway to Auschwitz, a town commandeered by the Nazis to serve as a “model” relocation camp to demonstrate the Third Reich's generosity and kindness toward the Jews, was an elaborate hoax. In an environment where truth was twisted beyond recognition, artists, writers, actors, and musicians used their work to revive the spirits of the condemned and to leave a legacy of truth in the face of an insidious lie. The arts became the foundation for a “curriculum” that shaped the lives of the inmates surviving in hell. 相似文献
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In this essay, Amy Voss Farris and Pratim Sengupta argue that a democratic approach to children's computing education in a science class must focus on the aesthetics of children's experience. In Democracy and Education, Dewey links “democracy” with a distinctive understanding of “experience.” For Dewey, the value of educational experiences lies in “the unity or integrity of experience.” In Art as Experience, Dewey presents aesthetic experience as the fundamental form of human experience that undergirds all other forms of experiences and that can bring together multiple forms of experiences, locating this form of experience in the work of artists. Particularly relevant to the focus of this essay, computational literacy, Dewey calls the process through which a person transforms a material into an expressive medium an aesthetic experience. Farris and Sengupta argue that the kind of experience that is appropriate for a democratic education in the context of children's computational science is essentially aesthetic in nature. Given that aesthetics has received relatively little attention in STEM education research, the authors' purpose here is to highlight the power of Deweyan aesthetic experience in making computational thinking available and attractive to all children, including those who are disinterested in computing, and especially those who are likely to be discounted by virtue of location, gender, or race. 相似文献
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郑丽新 《鞍山师范学院学报》2004,6(5):98-99
情感作为人的心理活动,它是推动人们进行实践活动的内趋力量,其蕴于艺术家的内在精神之中,艺术家的情感一旦升华,便具有社会的普遍意义.本文从两个方面分析了艺术家的情感与非艺术家情感的差异及情感的转换. 相似文献
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Christopher Manson 《Educational studies》2012,38(1):73-88
Systemising is the drive to analyse or construct systems, and can be assessed by a systemising quotient (SQ). Empathising is the drive to identify mental states and respond with an appropriate emotion, and can be assessed by an empathising quotient (EQ). Previous evidence suggests that: (1) males are more drawn to systemise than females, and females are more drawn to empathise than males; and (2) males are more likely to work in science and engineering, or to study science subjects at university. This study found: (1) males score more highly on the SQ, and females score more highly on the EQ; (2) controlling for age and gender, there is an association between degree subject and SQ and EQ scores, with “scientists” scoring higher on the SQ and “artists” scoring more highly on the EQ; and (3) individuals’ scores on EQ and SQ were better predictors of degree subject than gender. 相似文献