责骂会给孩子心灵留下阴影

案例:12岁的庄强这几天心里很烦,小学六年级的生活好像一点儿也不快乐。每天总有写不完的作业,大小测验几乎周周有,就连难得一次的看电影、春游也不能尽兴,看完电影得写观后感,春游归来得写游玩感想。这天,庄强心情烦闷地回到家,摊开作业本,懒洋洋地看起书来。他一点也不想做功课。“喂,强强,你在发什么呆?快点做功课。”房间里响起了妈妈的声音。庄强吓了一跳,但他马上说:“做功课,做功课,我不是正在做功课吗?”“你这个孩子,说你一句就要回十句,眼里有没有大人啊?”妈妈的火气大起来了。“烦死人了!明明回了一句偏要说回了十句。我都来不及做功课     

孩子成才的天敌不是玩

家长最爱对孩子说的一句话是:“你就知道玩,不知道学习。”许多家长把孩子的玩看成是一种“错误”。有的家长下班回家看到刚刚玩了一小会儿的孩子,抛出去的仍然是那句话:“就知道玩,不知道学。”接着就是:“回家赶紧做功课去!”如果孩子说“功课做完了”或者“今天没留作业”时,家长马上会说:“你不会好好看看书啊!”或者:“你不会复习复习啊!”“你再做点补充练习去!”总之,这些家长是把孩子玩耍当成“大敌”去对待的。有的甚至公开说:“必须把     

优素福的山寨秀

对一个政治讽刺：节目的主持人,付么是专业？优素福的回答有点出人意料：“做大量的功课,让你的节目拥有可信度,还有,不怕讲出你的看法。”他们要创造一种新的幽默,“含蓄、低调、不动声色”。“智力含量是第一位的”     

古人刷牙吗？

刷牙是现代人每天的“生活必备功课”之一,那么古人是怎样刷牙的呢？     

会玩的是好孩子

家长最爱对孩子说的一句话是:“你就知道玩,不知道学习。”许多家长把孩子玩儿看成是一种“错误”。有的家长下班回家看到刚刚玩了一小会儿的孩子,抛出的仍然是那句话:“就知道玩儿,不知道学。”接着就是:“回家赶紧做功课去!”如果孩子说“功课做完了”或者“今天没留作业”时,家长马上会说:“你不会好好看看书啊!”或者“你不会复习复习啊!”“你再做点补充练习去!”总之,这些家长是把孩子玩儿当成“大敌”去对待的。有的甚至公开说:“必须把孩子的时间都占领,叫他根本没有玩儿的功夫!”于是,孩子的下午、晚上时间全部被“占领”     

“小公主”砸坏的不仅是钢琴

在幼儿园大班里,有一位老师同学公认的“好孩子”：她能歌善舞,钢琴还过了6级。各门功课成绩都是“A”,还担任班上的小班长。平时,幼儿园的老师和同学们的家长见了她,都亲切地叫她“小公主”,可谁也没想到,生性乖巧的“小公主”,最近居然做出了一件“野蛮”的事情——这个孩子不知从哪儿找来     

林散之两游黄山

“读万卷书,行万里路”,对每一个有成就的艺术家,都是一门必不可少的“功课”。林散之在上海学艺期间,他的老师黄宾虹就和他说过：“读书多,则积理富,气质换;游历广,则眼界明,胸襟阔。”沪上归来以后,他便把游历山川,作为自己实现艺术追求的一种需要。继１９３４年,他游历嵩山、华山、太白山以及巴蜀之后,于１９３７年和１９６４年,又两次游历了雄伟壮丽、异彩缤纷的黄山。１９３７年秋,林散之和他的挚友邵子退、族侄林秋泉一起游黄山。那时的黄山,还处在一个相对原始的状态。他们经青阳、历九华、去黄山,在《分水岭阻雨山…     

吴建科 不为短期利益出卖未来

做了这个手术之后,我们后来就再也没有折腾过,似乎一晚上就步入了正轨,瓢泼大雨之后,就阳光明媚了。西门子迅速地在中国市场上找到了感觉在多少有些模式化和脸谱化的职业经理人的行列中,吴建科颇有点“异类”色彩。吴建科也自认为有些“异类”,“别人一直这么说,时间久了,渐渐地也就真的认为自己有点不一样了。”     

女儿的“厌学计划”

这次期末考试,女儿又有两门功课亮起了“红灯”。拿到成绩单的当天,妻已做好了暑假让她念培训班的准备。     

顾炎武五十九岁“高龄”仍坚持纳妾

中国古代有一类图书一直很畅销,比如《广嗣宝集》,相当于现代的育婴宝典,读这种书是想生孩子的准爸爸妈妈必须要做的功课。这种书里头就少不了收有“仙传种子丹方”、“种子法”。     

川端作品的艺术自我观照

川端康成最重要的作品——《雪国》、《古都》、《伊豆的舞女》,都表现了涉及艺术的主题,强烈地体现了作家关于艺术同生活、现代与古典的关系的理念。这类作品的意义,不仅在于故事本身的感染力,更在于其中包含的艺术理想对社会文化所产生的革命性影响。生活本身有很多产生意义的来源,艺术无疑是使生活产生最重要意义的高贵而艰难的来源,因为艺术不是虚幻的审美,而是富于深刻的意义、重大的价值、伟大的作用的人类活动。它的发生与成长需要生活为它提供不可或缺的土壤。艺术的真正价值在于为生活捉’乓模仿的对象和追求的理想。不是艺术模仿生活,而是生活模仿艺术。     

Reflections on the Identities and Roles of the Artists in European Paleolithic Societies

In an attempt to introduce concerns with social identities into the discussion and understanding of the making of what we call Paleolithic art, this article considers issues of gender, skill, apprenticeship, and tradition. We note that, as in every period of history, Paleolithic art can be seen as embedded in the society that studies it. Over the last 20 years, the research attention given to women in Paleolithic societies has grown considerably, leading us to ask what could have been the roles of women in Paleolithic art. On what criteria could we base a determination of those roles or of other social identities that were likely part of the making and viewing of Paleolithic art?Thanks to our microscopic analysis of engravings, it is possible to identify the skill level and expertise of the artists and thus to address the question of apprenticeship and how these techniques were transmitted. We observe many similarities that allow us to group together various works of art, sometimes from very distant sites, which indicate a movement of ideas, objects, and people. Are we talking about “imitation”? How can we define an “invention” within a social context strongly bound by traditions?     

Institutions and Falsified Culture in the Novel Evening Act by Croatian Writer Pavao Pavličić

`In one area of his prose work, the Croatian writer Pavao Pavli?i? belongs to a group of writers in the 1970s who used a fantastic narrative model and thematized irrational parallel worlds as opposed to a realist model of narration. Pavli?i?’s novel Evening Act (published as Ve?ernji akt in 1981) has a realistic beginning, but it slips into fantastic narration when the main character, a young man called Mihovil, discovers his ability to falsify documents and works of art. At the same time, he is capable of recognizing falsified art works and documents that are accepted as an integral part of social, cultural, and historical memory. When this ability becomes dangerous, Mihovil falsifies his own body to escape from his unbearable reality. This paper will analyse the function of the fantastic model in Pavli?i?’s novel as a postmodern play with traditions of Croatian and world literature and culture. The ludic layer of the novel has a highly symbolic value: it draws attention to the relationship of cultural institutions and society to the authenticity of art works, the role of art, and ways of preserving (or destroying) cultural memory.     

According to What: Art and the Philosophy of the "End of Art"

In 1964, when Danto first encountered Warhol's Brillo Box, Jasper Johns made a painting titled According to What. Danto's new book After the End of Art also provokes this question because in his restatement of Hegel's verdict on art's historical role he drops an essential part of the implied definition of art: the issue of adequacy between content and presentation. Why dispense with this crucial point of quality judgment? My critique falls into three parts. The first part shows how the whole historical argument rests upon a shift of criteria. According to Hegel art reached its highest point of achievement in classical antiquity when adequate embodiment seemed indispensable to the presence of the spirit. It subsequently lost this exclusive rank—first through Christianity, then through modern philosophy—when a new spiritual self-awareness emerged which no longer seemed to need external manifestation. Although Danto disputes the concept of absolute self-possession as the metaphysical vanishing point of Hegel's construction, he nevertheless subscribes to its apparent evidence in late twentieth-century art and culture. In the second part I discuss the characteristic distortions of Hegelian-type historicism and confront them with both the obvious misrepresentation of the works of art themselves and the different code of conduct in practical art history. This leads to a rather disenchanting conclusion: according to an old, deeply ingrained philosophical prejudice there is no problem about quality in art, because the true yardstick and fulfillment of art is philosophy itself. The final part tries to unpick this tangle by showing that there was in fact, contemporaneous with Hegel, a remarkably different interpretation of the self-same auspices of modern art which comes much closer to its actual achievements, and this without denying the basic philosophical predicament of which Danto has reminded us.     

乾隆内府书画装潢初探

中国古代书画装潢历史悠久,技艺精湛。但是长期以来,这一技艺主要是依靠在实际操作中的口手相传,缺乏文字记载,相关研究也多局限于手法技巧,较少涉及时代风格与艺术特色。由于古书画在屡易其主的过程中往往经历了多次改装,也造成历代装潢基准作品的匮乏和不确定。乾隆内府书画装潢集历代之大成,代表了有清一代的最高水平,而北京故宫博物院相对完整的清宫书画原装潢收藏也为其风格研究提供了条件。本文试图以此为切入点,在系统梳理院藏乾隆内府书画装潢原件的基础上,初步探讨其时代风格与艺术特色,希望能对中国古代书画装潢艺术的进一步研究有所裨益。     

We are never alone: a conversation on bio art with Eduardo Kac

Brazilian-born artist Eduardo Kac’s (Rio de Janeiro, 1962) work has raised eyebrows especially for his ‘transgenic art’ projects, among others: Genesis, 1999; GFP Bunny, 2000; The Eight Day, 2001; Natural History of the Enigma, 2003/08. In all of these, Kac and his scientific collaborators realize genetic interventions into living organisms at the same time as they trigger audience reactions to these from playful kinds of interaction that is integrated into the works’ open and dynamic creative process. Yet whereas the ethical and political challenges Kac’s work poses have sparked lively debates within and beyond the realm of the arts – can and must art engage with the ‘creative’ potentials of biotechnology and genetics? Do these not in fact (as Vilém Flusser and others have suggested) hold the key to realizing the vanguardist dream of merging art and life? Or should the artist, from the vantage point of his own creative practice, not rather warn us against the ethical and political risks involved in genetic engineering? – much less attention has been paid to the way Kac’s art also continues and transforms a particular legacy of post-concretist, ambient and performance art in Latin America.

Kac himself has referred to Brazilian artists Flávio de Carvalho, Hélio Oiticica and Lygia Clark as informing his interest in open, participative forms, which characterize both his transgenic and his earlier ‘tele-presence’ art projects. Other Latin American artists of the late twentieth and early twenty-first century have been producing intriguing engagements with living materials, multispecies habitats and organic remains, including such diverse names as Luis Fernando Benedit, Nicola Constantino, Nuno Ramos, or Teresa Margolles. In a conversation with Jens Andermann and Gabriel Giorgi at the University of Zurich’s Center of Latin American Studies on March 12, 2015, Kac addressed the way in which his work might be seen as continuing or challenging long-standing representations of the New World as a repository of ‘nature’, from colonial chronicles of discovery to contemporary discourses of biodiversity and conservation. To what extent is bio art – and the questions it raises about the Anthropocene as a threshold of radical biopolitical convergence between ‘history’ and ‘nature’ – necessarily ‘transcultural’ and planetary in its extension?     

The Nature of Value and the Value of Nature: a Philosophical Overview

In an article exploring the philosophical issues raised by environmentalism, Ben Rogers argues for an alternative both to the narrowly economic and to an extravagantly mystical concept of Nature. Species and ecosystems, mountain ranges and mineral reserves have an intrinsic value in the sense that Nature moves and disturbs us independently of our concern for our own welfare or happiness. This analysis enables us to see the inadequacy of cost-benefit analysis, which treats natural goods as commodities. At the same time, recognizing that the natural environment has an intrinsic value does not in itself release us from the necessity of making difficult choices or from hard decisions as to what is and what is not 'natural'. One way of clarifying the place that Nature occupies in our scheme of values is by way of analogies with heirlooms, works of art and historic towns and cities. These analogies shed light on what it means to insist that natural goods are not commodities, but are something we hold in trust.     

Modern Őmie Women: Virtual Indigeneity and Intimations of Empowerment

The women of ?mie Artists, a cooperative that produces original bark cloth paintings for the global indigenous art market, are described in contemporary ethnographic publications as ranked into a hierarchy of chiefs on the basis of their ‘wisdom’ which is expressed in their paintings. This depiction of the ?mie, who comprise a marginalized population of less than 2000 in Oro Province of Papua New Guinea, is dramatically different from what was known of their culture several decades ago. An assessment of the likelihood of this virtual depiction reflecting the social empowerment of ?mie women is undertaken. Although the impact of missionization and entry into capitalist markets is recognized, it is the interpellation of the art market of the ‘indigenous artist’, working within a traditional mystical tie with the land and the ancestors, which must be seen as precipitating what appears in virtual form an amplification and cultural embellishment of women’s traditional knowledge and practices. This process is foregrounded against the historical change in valuation of women’s cultural contributions by the discipline and the art world.     

L’Invention du Spectateur au XVIIIe Siècle L’Art Est Usage

18^th century philosophers analyzed art through the aesthetic experience of the audience. By contrast, Adam Smith was interested in the moral judgment that an impartial audience may formulate. How can art and morality, the beautiful and the good, be combined into one analytical framework? Art and morality convey non-transcendental values that are intrinsic to human experience. With the aesthetic experience of the audience, art is used, and ultimately depends on the ways that humans relate to works or art and to the beautiful.