民俗学艺术论题的转向——从民间艺术到支撑人之“生”的艺术(vernacular艺术)

民俗学研究中关于艺术的讨论通常是在民间艺术或民俗艺术概念之下展开的。然而,这类议论往往深受传统与历史性的束缚,普通人在生活世界里所制作的平凡作品很少有机会能被视作"艺术"。要使这样略失偏颇的论题实现在现代社会中的转向,vernacular艺术这个概念应能发挥效用。它所指的,是并不自许为"艺术家"的普通人受难以抑制的创作冲动所驱使而作成的艺术;是在那原本与正统艺术世界的制度、权力或权威无涉的世界里,自学习得艺术技能与知识的人们苦心巧思而成的艺术。它是呈现在普通人生活现场与路上的艺术,有时亦是支撑人生、充实生活的艺术,是寻回新生、填补生命的艺术。在民俗学中采用vernacular艺术这一视点时,艺术本身并不是真正需要我们考察的对象。我们应当考察的是艺术背后人们千姿百态的生活形象与方式,是他们别具特征的人生观与人性,这些都是极好的研究材料。另外,将"艺术家"的个人史与其生活社会的当代史加以描述,从中亦能生长出研究的良材。     

From the sublime to the Druidical: changing perceptions of prehistoric monuments in southern Anglesey in the post-medieval period

Abstract

The prehistoric monuments of southern Anglesey have been interpreted in various ways over the past three centuries, as an examination of the work of antiquarians, artists, landscape designers and other contemporary commentators reveals. During the post-medieval period, the meanings of these monuments shifted, as perceptions of the pre-Roman era changed. As embodiments of the past, megalithic monuments were embraced by Welsh historians, antiquarians and artists in the movement to formulate a Welsh national identity. Moreover, their incorporation into landscape gardens was indicative of the extent to which they captured the contemporary imagination. Local communities, meanwhile, reacted in differing ways to the megaliths, influenced concurrently by superstition and agrarian pragmatism.     

Justice Sandra Day O'Connor: The Framers' "First Woman"

Sandra Day O'Connor's appointment to the Supreme Court was a historic stride in American women's slow but determined march towards full equality. At our nation's birth, Abigail Adams urged her husband and other members of the Continental Congress to "Remember the Ladies" in their new government. ¹ "We know better than to repeal our Masculine systems," John Adams replied only half jokingly. ² More than two centuries would pass before a woman donned Supreme Court robes to help interpret the United States Constitution.     

Artists' Impressions of Aberdulais Mill

Abstract

During the late eighteenth and early nineteenth centuries Aberdulais Falls was occupied by a corn and grist mill, and became a popular subject for topographical artists and painters. Since almost no archaeological evidence for the mill complex can be discovered, these illustrations are an invaluable source for reconstructing that period of the site's history. This article discusses the approaches to, and the problems inherent in, interpreting this kind of material for strictly archaeological purposes, and concludes by suggesting that expertise should be sought from other disciplines before any proper interpretation is attempted.     

新疆草原文化区域系统研究

新疆草原文化是古代新疆草原游牧民族创造的一种游牧文化,其活动区域主要分布在天山及其以北的地区。本文试图从新疆草原文化形成的过程入手,探讨新疆草原文化系统的内涵、基本特征、草原文化的形成与地理环境的关系。     

Post-Byzantine hermeneiai zographikes in the eighteenth century and their dissemination in the Balkans during the nineteenth century

Abstract

This article focuses on the significance of the Orthodox painters' manuals, called hermeneiai zographikes, in the development of post-Byzantine iconography and painting technology and techniques in the Balkans during the eighteenth and nineteenth centuries. Using a number of unpublished painters' manuals (Greek and Slavonic) as primary sources for the study of Christian and Ottoman culture in the Balkan peninsula, it is possible to examine perceptions of Europe in the Balkans, in particular the principal routes for the transmission of ideas of the European Enlightenment, as well as the role of artists as mediators in the processes of 'Europeanization'.     

THE SHADOW-ZONE OF LARGE ITALIAN EARTHQUAKES. EARLY JOURNALISTIC SOURCES AND THEIR PERCEPTION OF 17TH-18TH CENTURIES SEISMICITY

From their earliest beginnings in the 16th century, journalists never failed to find earth-quakes interesting. As a result, early journalistic sources offer a huge hoard of original earthquake data, mostly untapped to this day for seismological purposes [Camassi and Castelli, 2003]. In the aftermath of large earthquakes, the journalists of the 17th and 18th centuries tended to react in two ways. Either their interest for seismic news would increase, leading them to hunt for more news of the same kind, or it would focus exclusively on the “big one” to the detriment of lesser contemporary earthquakes. In the first case, it was possible that more earthquakes than usual would be given coverage; but in the second case more earthquakes than usual were likely to be overlooked and shadowed by the larger event. Through a comprehensive cross-check of Italian early journalistic sources, this paper attempts to highlight the “shadow-zones” of some major 17th–18th centuries Italian earthquakes.     

The Implications of Analytic Philosophy of History for the Practicing Historian

An article by John O'Hagan and Elish Kelly in 2005 (see Historical Methods 38:118-25) discussed collecting information on visual artists that would allow a broad historical ranking based on "prominence." O'Hagan and Kelly collected these data to examine prominent artists' birth locations, work locations, and their consequential patterns of labor movement during several long periods. In this article, the authors examine artists' migration for four periods (based on their date of birth): Renaissance Italy, Europe in the first half of the nineteenth century, and the Western world in general for the periods 1850-99 and 1900-49. The data show that important artists clustered in all periods at a remarkably high level. Florence and Rome dominated in Renaissance Italy, with significant clustering because of the artists' birthplaces and domestic migration. Paris and London witnessed a marked clustering of artists born in the first half of the nineteenth century, with Paris continuing to dominate among artists born in the second half of the nineteenth century. Artists born in the first half of the twentieth century clustered in New York City, with all prominent American artists clustering there.     

Measuring Religious Preferences in Nineteenth-Century Urban Areas

The author applies David Galenson's work on the life cycles of modern artists to the study of the paintings of old masters, from about the early fifteenth to the late seventeenth centuries. Both the potential use of technical examination of paintings and the role of drawings for preconceiving compositions are explored as means for interpreting artistic behavior among pre-modern artists. Using a study of illustrations in texts to establish a list of canonical painters and the relative dates in which they are believed to have contributed their most important paintings, the author then analyzes a series of old master painters' working methods, demonstrating how their creative behavior corresponds to what their respective life cycles would suggest. Thus, the study of artists' life cycles could anticipate the use of optical and other mechanical devices for the production of premodern paintings based on such studies.     

Artists and policy-making: the English case

The 1980 UNESCO Recommendation concerning the Status of the Artist emphasised the importance of including artists in the policy-making process. However, 30 years later, evidence suggests that artists often have only marginal involvement in the policy-making of UNESCO member states. This paper explores how visual artists in England relate to arts policy-making. An overview is provided of how artists fared in arts policy during the 50 years following the creation of the Arts Council of Great Britain (ACGB) in 1946. A more detailed account is then given of how visual artists featured in the policy-making of Arts Council England (ACE) and the Department for Culture Media and Sport (DCMS) during the period of the New Labour government, 1997–2010. The conclusion is drawn that, despite an official rhetoric which claimed artists occupied a priority position within English arts policy during this period, in reality artists continued to lack visibility and influence.     

新中国文化发展历程回顾

文化是社会主义革命、建设和改革事业中的重要方面,从毛泽东没有革命文化事业,革命与建设的胜利是不可能的,到邓小平"不论是对于满足人民精神生活多方面的需要,对于培养社会主义新人,对于提高整个社会的思想、文化、道德水平,文艺工作都负有其他部门所不能代替的重要责任";从江泽民"有中国特色社会主义文化,是凝聚和激励全国各族人民的重要力量,是综合国力的重要标志……对经济和政治的发展起巨大促进作用",到胡锦涛"发展社会主义先进文化,是建设中国特色社会主义的应有之义,是马克思主义政党思想精神上的旗帜,是推动我国经济社会发展的必然要求,是实现中华民族伟大复兴的显著标志",都是对文化建设所做的深刻论证。通过对新中国文化历程的回顾,可以总结文化建设60年来所发挥的解放思想、动员人民、引领时代风尚的作用,促进文化的大发展大繁荣。     

Seventeenth century concepts of "apoplexy" as reflected in Bonet's "Sepulchretum"

The term "apoplexy," which has been in use since antiquity, referred to a catastrophic illness with an abrupt loss of consciousness and a frequently fatal outcome. During the sixteenth and seventeenth centuries scholastic approaches that relied on authorities were merging with an observational approach to medicine and Galen's speculation that apoplexy was due to an accumulation of phlegm or black bile in the cerebral ventricles began to be seriously challenged. The most extensive collection of case reports with autopsies published in the seventeenth century was Theophile Bonet's Sepulchretum sive Anatomia Practica. Section 2 of Book I of the Sepulchretum contains 70 case reports of patients that died with the diagnosis of apoplexy. The scholia in this section provide an idea for the modern reader of the notions physicians had of apoplexy in the seventeenth century. The Sepulchretum was an important book for physicians of the late seventeenth and eighteenth centuries. It played an important role in the development of modern medicine and it was an important foundation for Morgagni's De Sedibus et Causis Morborum. This essay reviews the pathological findings reported in victims of apoplexy and examines the views concerning the symptomatology, pathogenesis, etiology, and treatment of this condition that were prevalent at that time.     

Aberdulais Falls

Abstract

Aberdulais Falls is a multi-period site, important because it participated in the early development of three of the major metals industries of Wales – copper smelting, ironworking and tinplate manufacture. For three centuries the River Dulais provided a natural head for water powered plant, the earliest of these being a copper works thought to have been established here in 1584. It was the site of a corn and grist mill c1765-1819, during which time it was a popular subject for travelling artists, Turner among them. This article is an interim report based on the archaeological work undertaken from 1982-5, and represents the author's term as Site Archaeologist at Aberdulais Falls. It argues that the extant remains belong, almost exclusively, to the two final periods of industrial activity – ironworking (c1819-40) and tinplate manufacture (c1840-90).     

《左傳·定公四年》祝佗追敍辨正——兼論商代宗族研究的文獻基礎

《左傳·定公四年》所載祝佗關於周成王分封過程的一段追敍,在商代宗族結構的研究史上居於重要地位,但其中存在的許多矛盾,難以在現存古史框架内獲得圓滿解釋。在與殷民六族、殷民七族相關文字的周圍,很可能存在一些被有意植入正文的注文。分魯公之殷民六族,分康叔之殷民七族,分唐叔之懷姓九宗,都是追敍原文中所謂"昭之以分物"的具體類目之一;"使帥其宗氏"中的被"使"者,應該是魯公。祝佗在使用"宗氏"等詞時並非針對"殷民六族"而言。     

旅游者对广州饮食文化景观形象感知的实证研究

"食在广州"已成为一个集味觉享受、视觉感受和听觉冲击于一体的广州形象的宣传口号,成为广州吸引外地旅游者的重要品牌。通过对外地旅游者的抽样调查,探讨旅游者对广州饮食文化景观的形象感知特征,结果表明:①广州整体旅游形象中,购物突出,饮食居次;②传统美食和饮食习俗受偏爱;③旅游者注重餐馆的用餐环境和服务,总体上对餐馆表示满意;④广州饮食的多元化特征在旅游者感知中表现明显。旅游者对广州饮食文化景观形象感知特征对于科学合理的开发利用广州饮食文化景观资源有重要的理论与实践意义。     

GEOMETRIC SQUARES

Summary: One type of male figure on Attic Late Geometric vases has a rectangular rather than triangular torso. the general interpretation of this shape as a square shield is not valid, and it is already recognised that we have some examples which represent a bell-corslet and a chiton. the warriors on the chariots in the main frieze of an amphora by the Anavysos painter in the British Museum appear to be wearing non-metallic corslets. A review of extant material suggests we should be cautious in interpreting square-bodies since artists availed themselves of the convention for a number of purposes. the extent of the use of non-metallic corslets in the eighth and seventh centuries cannot be judged from this evidence, but its very use is a significant factor in the debate over the introduction of hoplite armour and tactics in Greek society.     

The Overseeing Mother: Revisiting the Frontal-Pose Lady in the Wu Family Shrines in Second-Century China

Located in present-day Jiaxiang in Shandong province, the Wu family shrines built during the second century in the Eastern Han dynasty (25–220) were among the best-known works in Chinese art history. Although for centuries scholars have exhaustively studied the pictorial programs, the frontal-pose female image situated on the second floor of the central pavilion carved at the rear wall of the shrines has remained a question. Beginning with the woman's eyes, this article demonstrates that the image is more than a generic portrait (“hard motif”), but rather represents “feminine overseeing from above” (“soft motif”). This synthetic motif combines three different earlier motifs – the frontal-pose hostess enjoying entertainment, the elevated spectator, and the Queen Mother of the West. By creatively fusing the three motifs into one unity, the Jiaxiang artists lent to the frontal-pose lady a unique power: she not only dominated the center of the composition, but also, like a divine being, commanded a unified view of the surroundings on the lofty building, hence echoing the political reality of the empress mother's “overseeing the court” in the second century during Eastern Han dynasty.     

从党权政治角度看孙中山晚年的司法思想与实践

孙中山的革命学说因时势变化而变化,其司法思想也因而变动不居。党权政治学说引入后,晚年孙中山完成了从“主权在民”到“主权在党”、从“天赋人权”到“革命民权”的思想转变。与此相适应,孙中山认为,在革命时期,作为治权之一的司法权要掌控于国民党手中,而非超越党派政治。实践中,孙中山努力探索司法“国民党化”之道,但囿于国民党党势、党力之不足等原因,国民党掌控司法的很多举措不免流于形式。     

Brain, mind, and body: interactions with art in renaissance Italy

The Renaissance saw the first systematic anatomical and physiological studies of the brain and human body because scientists, for the first time in centuries, were allowed to dissect human bodies for study. Renaissance artists were frequently found at dissections and their attention to detail can be observed in their products. Scientists themselves were increasingly artistic, and they created astonishing anatomical models and illustrations that can still be studied. The cross-fertilization of art and science in the Renaissance resulted in more scientific analyses of neuroanatomy as well as more creative ways in which such analyses could be depicted. Both art and science benefited from the reciprocal ways in which the two influenced each other even as they provided new ways of explaining the mysteries of the human body and mind.