散打运动中的美学特征   总被引：1，自引：0，他引：1  

刘劲松  李正中  彭彦铭 《搏击·武术科学》2004,(5)

从散打运动的悬念美、意志美等方面,对散打运动的美学特征进行了分析。并将散打运动的技战术要求、特点与《孙子兵法》作了初步结合。  相似文献   

太极拳的战略战术与《孙子兵法》   总被引：3，自引：0，他引：3  

骆春燕 《北京体育大学学报》2004,27(2):288-289

太极拳的拳理与<孙子兵法>的法术血脉相依.通过对<孙子兵法>中某些战术思想的借鉴,对太极拳的战略战术的理论体系做出初步的建构.  相似文献   

武术与传统美学   总被引：4，自引：0，他引：4  

郑爱民  周新春 《南京体育学院学报(社会科学版)》2003,17(6):35-36

武术作为中国古代流传下来的一项宝贵的文化遗产,它不仅具有运动特征,而且还具有美学特征。其在演练过程中所表现出的"韵"味以及"神和意",使人们不仅能品味醇厚的武术文化,而且能在刀光剑影中获得美的享受。  相似文献   

影响竞技健美操最后得分因素探究——以第10届世界健美操锦标赛六人操决赛为例     

周雯  杜少武 《福建体育科技》2009,28(6):20-23

运用图像分析、文献资料调研、数理统计等研究方法，对第10届世界健美操集体六人决赛前8名运动员名次与难度、艺术、完成得分进行了系统分析。研究显示，提高难度动作的质量才是关键所在，难度、艺术和完成是相辅助相成、相互影响的，仅仅孤立地追求某一方面的得分，只会得不偿失。  相似文献   

大型团体操与文体表演、舞台表演的比较研究     

杨宾 《湖北体育科技》2008,27(1):71-73

运用文献资料、录像分析、比较以及逻辑分析的方法，对大型团体操、文体表演及舞台表演三者之间共性与差异进行比较分析，经研究发现它们在本质与内涵、主题思想、表演形式、表演舞台、表演规模以及表演人员等方面存在着明显的差异，并在此基础上，总结出大型团体操有别于文体表演和舞台表演的本质特征。  相似文献   

集铢聚珍新意盎然——《苏州民国艺文志》的价值浅探     

张耘田 《新世纪图书馆》2006,(5):70-72

论文提出《苏州民国艺文志》蕴含价值，充满新意，堪称创新之作。它是研究民国时期江南乃至全国艺文现象的史料书、工具书，具有较高的资源价值、史料价值和参考价值。  相似文献   

1949年前的中国博物馆建筑   总被引：1，自引：0，他引：1  

李国鳌 《博物馆研究》2006,(3):3-9

虽然1949年前的中国博物馆数量有限,但是博物馆建筑已呈现出多样化的风格。通过对初创时期中国博物馆建筑的回顾和分析,我们既可以看到中国传统建筑形式在博物馆建筑中的延续和发展,也可看到西方文化对中国博物馆建筑的影响和渗透,同时还可以看到中国近代建筑师为创造具有民族传统风格博物馆建筑的尝试和努力。  相似文献   

‘The feeling of exclusion’: Young peoples' perceptions of art galleries     

David D.M. Mason  Conal McCarthy 《Museum Management and Curatorship》2006,21(1):20-31

This article first looks at the relationship between museums and art galleries and their potential audiences and, in particular, the under-represented sector of young visitors. It examines the main findings from the limited research available on young visitors, and goes on to discuss theories delineating the differences between the cultures, identities and values of culture consumers and culture providers. The second part of the article looks at what specific museums have done towards being more inclusive in their appeal, and then reports the findings of a survey of young people in relation to New Zealand's Auckland Art Gallery. The survey found that young people's ideas of what constitutes modern, relevant art do not match standard art criteria, and that most exhibitions and marketing methods do not mesh with their worldview. The article concludes by using data from the survey to suggest ways of engaging more young people with public art galleries.  相似文献   

Methods for studying family visitors in art museums: A cross-disciplinary review of current research     

Pat Sterry ^{Author Vitae}  Ela Beaumont Author Vitae 《Museum Management and Curatorship》2006,21(3):222-239

This paper examines current trends in family studies research, details the methodological and topical perspectives that are emerging, and reflects on how these findings could be integrated to provide a more coherent approach to researching the leisure, learning and recreational aspects of family visitors to art museums. Research findings from disciplines such as sociology, ethnography, education, design and marketing are of interest to the field of visitor studies, and this paper contributes to the wider research agenda by providing an overview of family research methods from a range of other disciplines, as well as those used within visitor studies.Over the last decade, there has been a growth of research in family learning in science museums, leading to an emerging disciplinary matrix, whilst many aspects of family visits to art museums remain relatively unexplored. The paper discusses the problems of gathering meaningful data from adults and children in family groups, and concludes by suggesting that a challenge for art museums is to learn from what is happening in other areas of cultural research into families, and to develop a framework for research which builds on the methodological strengths and practical experience of robust studies.  相似文献   

Essentialism, adaptation and justice: Towards a new epistemology of museums     

Mark O'Neill ^{Author Vitae} 《Museum Management and Curatorship》2006,21(2):95-116

This article treats the prevalent confused mixture of utilitarian, art-and-knowledge-for-their-own-sake and ideological interpretations of the purpose of museums as a problem of epistemology, arguing that that key dimensions of museum knowledge (of objects, visitors, museums themselves, and of society) need to be integrated to achieve coherence. A new object-based, visitor-centred, storytelling epistemology is proposed. This would take an interdisciplinary approach and aim to unleash, rather than mute the real power of objects. It would address human destructiveness, as well as celebrating human creativity and the wonders of nature. It would respect the meaning-making practices of real, as opposed to idealized, imaginary visitors, and promote staff self-awareness in managing bureaucratic drift into introversion and avoidance of difficult issues. Incorporating a theory of justice, it would erode boundaries created by presentation traditions which, though marginal to object experiences, discriminate in favour of specific social groups—often groups with whom staff identify. Providing a museum service on a visibly fair basis is essential for museums to achieve intellectual coherence as well as societal support.  相似文献