內(nèi)蒙古大學(xué)藝術(shù)學(xué)院學(xué)報(bào)》
2015年第2期中英文論文摘要、關(guān)鍵詞
秧歌舞/ 忠字舞/ 廣場(chǎng)舞
——現(xiàn)代中國(guó)的大眾舞蹈
周 星
（日本愛知大學(xué)國(guó)際交流部， 名古屋 453-8777）
摘 要: 現(xiàn)代中國(guó)自20 世紀(jì)40 年代以來(lái)，相繼興起了秧歌舞、忠字舞和廣場(chǎng)舞等多種形態(tài)的大眾舞蹈。所謂“大眾舞蹈”是指和專業(yè)舞蹈亦即舞蹈家們專業(yè)性演出的舞蹈形成鮮明對(duì)比、主要是由普通民眾在公眾場(chǎng)合表演或自?shī)首詷?lè)的舞蹈。不同形態(tài)的大眾舞蹈各有其不同的時(shí)代背景及風(fēng)格，本文試圖對(duì)此進(jìn)行初步的描述及分析，以求揭示大眾舞蹈在現(xiàn)代中國(guó)社會(huì)中的意義。
關(guān)鍵詞：秧歌舞；忠字舞；廣場(chǎng)舞；大眾舞蹈；藝術(shù)人類學(xué)
Yangko Dance, Loyalty Dance, Square Dance
——Popular Folk Dances in Modern China
ZHOU Xing
(Faculty of International Communication，Nagoya ，Aichi University 453-8777 )
Abstract: From the 1940s, many different types of popular folk dances appeared in modern China. Different from professional dances which are performed by professional dancers, the term “popular folk dance” in China refers to the type of dance performed by ordinary people in public places, as a kind of self-amusement activity. Different types of popular folk dances have their different historical background and different styles. This paper provides an introductory description and analysis of this social phenomenon, and tries to reveal the significance of folk dances in modern China.
Key words: Yangko dance; Loyalty dance;Square dance;popular folk dance;art anthropology
幽默：一種現(xiàn)實(shí)之鏡
向 麗
（云南大學(xué)人文學(xué)院中文系， 云南 昆明 650091）
摘 要:在美學(xué)中，幽默歸屬于喜劇范疇，與滑稽、諷刺、詼諧等類型同屬于笑的藝術(shù)，但它卻具有自身的特質(zhì)。幽默作為現(xiàn)實(shí)生活關(guān)系的微妙刻寫，它蘊(yùn)藉著人類愉悅、歡快、無(wú)奈、糾結(jié)、痛苦、絕望等諸多情感，但它終將能夠把這種種歷驗(yàn)轉(zhuǎn)化為“會(huì)心的微笑”，因?yàn)檫@源于一種對(duì)人類存在的深刻洞察和升華。當(dāng)它在笑聲中出賣了人們心底的恐懼時(shí)，恐懼將有可能在一個(gè)新的世界中被消除。我們深信，具有優(yōu)美品質(zhì)的幽默將無(wú)限延伸這樣的能力。
關(guān)鍵詞：幽默；喜劇；笑；表征
Humour : The Mirror of Reality
XIANG Li
(Department of Chinese, College of Humanity, Yunnan University, Kunming, Yunnan ,650091 )
Abstract: In aesthetics, humor is attributed to the category of comedy, it belongs to the art of laugh as well as the funny, satire, humorousness and so on, but humour has its own characteristics. As the subtle writing on reality, humour contains human’s pleasure, cheer, helpless, tangle, pain, despair and many other emotions, but it will eventually be able to put the experience into a variety of experience, "a knowing smile," because it stems from a profound insight and sublimation of human existence. When humour betrays the fear in the hearts of people when they laugh, fear will possible be eliminated in a new world. We are convinced that humor has the beautiful quality to extend this capability.
Key words: Humour; Comedy; laugh; Characterize
論全球史詩(shī)演唱傳統(tǒng)的譜系分類體系
傲東白力格
（西北民族大學(xué)民族學(xué)與社會(huì)學(xué)院， 甘肅 蘭州 730030）
摘 要:史詩(shī)演唱分類體系是非常重要的史詩(shī)理論問(wèn)題。本文根據(jù)世界各地田野調(diào)查中獲得史詩(shī)演唱傳統(tǒng)資料，對(duì)于全球史詩(shī)演唱體系做了一次系統(tǒng)的譜系分類。研究發(fā)現(xiàn)全球的史詩(shī)演唱傳統(tǒng)根據(jù)史詩(shī)語(yǔ)言、史詩(shī)題名、程式、主題和故事范型等指標(biāo)分為漢藏語(yǔ)系史詩(shī)傳統(tǒng)、印歐語(yǔ)系史詩(shī)傳統(tǒng)、阿爾泰語(yǔ)系史詩(shī)傳統(tǒng)、閃－含語(yǔ)史詩(shī)系史詩(shī)傳統(tǒng)、尼日爾 -剛果語(yǔ)系史詩(shī)傳統(tǒng)、烏拉爾語(yǔ)系史詩(shī)傳統(tǒng)、南亞語(yǔ)系史詩(shī)傳統(tǒng)、南島語(yǔ)系史詩(shī)傳統(tǒng)、達(dá)羅毗荼語(yǔ)系史詩(shī)傳統(tǒng)等九大模塊史詩(shī)傳統(tǒng)。這個(gè)九大模塊史詩(shī)傳統(tǒng)，可以基本概括目前發(fā)現(xiàn)的全世界的史詩(shī)演唱傳統(tǒng)。
關(guān)鍵詞：史詩(shī)傳統(tǒng)；親屬關(guān)系；譜系分類體系
On the Pedigree Classification System of
Global Epic Singing Tradition
AO Dong Bai Li Ge
(School of Ethnology and Sociology, Northwest University for Nationalities, Lanzhou, Gansu, 730030 )
Abstract:Classification system of epic singing is a very important epic theory issue. According to the epic singing tradition materials from the field survey around the world, this article makes a systematic pedigree classification of global epic singing system. The study found the global epic singing tradition, based on the epic language, epic title, programs, themes and stories paradigm and other indicators, was divided into nine modules of epic tradition: Sino-Tibetan epic tradition, Indo-European epic tradition, Altaic epic tradition, Semito-Hamitic family epic tradition, Niger - Congo language epic tradition, Uralic epic tradition, the Austro-Asiatic family epic tradition, Austronesian epic tradition, Dravidian family epic tradition. The nine modules epic tradition can basically sum up the world’s current epic singing tradition around the world.
Key words:Epic Tradition; Kinship; Pedigree Classification System
“圣人南面而聽天下”中的“南”
實(shí)指今天的東
阿爾丁夫
（內(nèi)蒙古師范大學(xué)文學(xué)院，內(nèi)蒙古 呼和浩特 010022）
摘 要:對(duì)“圣人南面而聽天下”中的“南”，長(zhǎng)久以來(lái)，人們無(wú)不認(rèn)為系指今天的南方。這種認(rèn)識(shí)并不符合實(shí)際。在先秦某個(gè)歷史時(shí)期，中原人類族群，同北溫帶其他人類族群一樣，也曾經(jīng)經(jīng)歷過(guò)將日出方向稱作“南”的四方階段；再加上自西周初至西漢時(shí)期，中原地區(qū)各國(guó)都城沒(méi)有不是坐西朝東的；這就決定了“圣人南面而聽天下”中的“南”只能是指日出方向的“南”，實(shí)為今天的東。
關(guān)鍵詞：圣人；南面；聽天下；以日出方向?yàn)?ldquo;南”；都城 ；坐西朝東
The "South" in "The King Ruled the World by
Facing South"Reffering to "East" Today
A Er Ding Fu
(Liberal Arts College, Inner Mongolia Normal University, Hohhot, Inner Mongolia, 010022 )
Abstract: For a long time, without exception, people consider “South” in “The king ruled the world by facing south”refers to“as South area today, which isn’t realistic. In a certain period of early Qin dynasty, like other human groups in the north temperate zone, human group in Central Plains also experienced Quartet stage that the sunrise direction was called "South"; in addition, since the beginning of the Western Zhou Dynasty to the Western Han Dynasty, all capitals of varous countries in Central Plains sat west towards east. These determine that“South”in “The king ruled the world by facing south”can only refer to the direction of the sunrise "South", which in fact, is the“east”today.
Key words:Saint; South; Ruling the World; Sunrise Direction as “south”; Capital; Sitting West Towards East
2014 年輕電影與中國(guó)電影內(nèi)熱外冷的格局之困
儲(chǔ)雙月
（中國(guó)藝術(shù)研究院電影電視藝術(shù)研究所， 北京 100029）
摘 要:本土化經(jīng)營(yíng)與國(guó)際化發(fā)展視野背道而馳、對(duì)話世界的開放意識(shí)淡薄，自然是中國(guó)電影在傳播接受上陷入內(nèi)熱外冷困境的重要原因。2014年輕電影皆因引起網(wǎng)生代密切關(guān)注、熱議或爭(zhēng)議而在國(guó)內(nèi)市場(chǎng)熱賣，但其在社交媒體作為熱點(diǎn)話題所具有的高度集中的消費(fèi)熱點(diǎn)和不斷發(fā)酵所形成的傳播張力，很大程度上還是無(wú)法滲透、擴(kuò)散到海外市場(chǎng)，從而抵消品質(zhì)和欣賞口味上的嚴(yán)苛檢驗(yàn)。指出 2014年中國(guó)輕電影發(fā)展的現(xiàn)狀、問(wèn)題，并針對(duì)性地提出內(nèi)容生產(chǎn)策略，對(duì)中國(guó)電影海外市場(chǎng)拓展意義重大。
關(guān)鍵詞：海外市場(chǎng);“快時(shí)尚”模式 ;信任和親密關(guān)系的認(rèn)同危機(jī) ;戲仿
The Dilemma on Cold outside and Hot inside china about Relaxing Films and Chinese Films in 2014
CHU Shuang-yue
(Film and TV art institute ,Chinese National Academy of Art ,Beijing,100029 )
Abstract: The Chinese films of the acceptance was caughted in the Dilemma on Cold outside and Hot internal has two causes,localization and internationalization development field of vision on Chinese Films is contradictory,dialogue and open consciousness of the world is weak. Relaxing Films in 2014 which caused net generation of a dispute over pay close attention to, or hot sale in the domestic market, still largely impermeable, can not spread to the overseas market, to offset the strict inspection on quality and appreciation taste.Although it is a hot topic of highly centralized consumption in social media and hot spots and the spread of continuous fermentation formed by the tension . Pointed out that current situation of the development of problems on Chinese relaxing films, and puts forward the production strategy, is great significance to Chinese films overseas market expansion.
Key words: overseas market ;"fast fashion" mode; The identity crisis of trust and close relationship; parody
探索演員表演中的“下意識(shí)”
劉恩義
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院影視戲劇系，內(nèi)蒙古 呼和浩特 010010）
摘 要:演員在表演過(guò)程中，要想把斯坦尼斯拉夫斯基所提出“下意識(shí)”這一重要表演理論真正地付諸于舞臺(tái)上的實(shí)踐，就需要調(diào)動(dòng)演員全部智慧與情感，要下大力氣去鉆研才有可能達(dá)到這種靈動(dòng)的瞬間。由于舞臺(tái)上的人物是由演員所扮演的假定性的形象，所以這種“下意識(shí)”的瞬間很難出現(xiàn)，但這并不代表演員只能憑借運(yùn)氣來(lái)祈求它的來(lái)臨，只要弄明白“下意識(shí)”創(chuàng)作原理，便可得知“下意識(shí)”并不是神秘莫測(cè)的，只要按照有機(jī)天性的自然規(guī)律去感受體驗(yàn)，就能夠達(dá)到這種靈動(dòng)鮮活的瞬間。
關(guān)鍵詞：意識(shí)；“下意識(shí)”；有機(jī)天性
Explore the Subconscious of the Actors " Performance "
LIU En-yi
(The Department of television drama, Inner Mongolia University, Hohhot, Inner Mongolia 010010 )
Abstract: Actor in the course of the performance, to want to Stanislavski proposed "consciousness" is the important theory of performance truly put into practice on the stage, we need to mobilize the actors all wisdom and emotion, to make great efforts to study only could reach the spirit of the moment. Due to the stage of the character is played by actor assumption of the image, so the "consciousness" of the moment is very difficult, but this does not mean that actors can only rely on luck to pray for the coming, just understand the theory of "consciousness" creation, "consciousness" are not a mystery that, as long as the organic nature in accordance with the laws of nature to experience can achieve the vivid moment.
Key words: Consciousness; Subconscious; Organic nature
蒙古族音樂(lè)研究百年（四）
博特樂(lè)圖1 郭晶晶2
(1.內(nèi)蒙古大學(xué)藝術(shù)學(xué)院 2.內(nèi)蒙古社會(huì)科學(xué)院，內(nèi)蒙古 呼和浩特 010010 ）
Centuries Research on Mongolian Music( Part IV）
Boteletu1, GUO Jing-jing2
(1.Art College, Inner Mongolia University,
2.Inner Mongolia Academy of Social Science Hohhot, Inner Mongolia, 010010 )
鄂溫克族“扎恩達(dá)拉嘎”音樂(lè)形態(tài)特征探析
苗金海
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:鄂溫克族民間音樂(lè)的主體包括舞蹈音樂(lè)、尼瑪罕、扎恩達(dá)拉嘎三種音樂(lè)類型，從旋律形態(tài)來(lái)看，扎恩達(dá)拉嘎既有鄂溫克族民間音樂(lè)的共性特征，又有其個(gè)性化的特點(diǎn)。本文從節(jié)奏節(jié)拍、調(diào)式調(diào)性和旋法特征三個(gè)方面的分析入手，探討扎恩達(dá)拉嘎音樂(lè)的旋律形態(tài)特點(diǎn)與多樣化風(fēng)格。
關(guān)鍵詞：鄂溫克族；扎恩達(dá)拉嘎；多樣化風(fēng)格；多元文化
Music Morphological Characteristics of Ewenki"Zhaandal"
MIAO Jin-hai
(Art College, Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )
Abstract: The main body of Ewenki folk music includes three types of music: dancing music, nimahan, and Zhaandal. From melodic form, “Zhaandal” contains not only the common features of Ewenki folk music, but also its individual features. Based on the analysis of three aspects of the rhythm of the beat, modal tonality and melodic features, this article discusses melody morphological characteristics and diversified styles of “Zhaandal”.
Key words: Ewenki; Zhaandal; Diversified style; Multiculture
內(nèi)蒙古烏拉特前旗爬山調(diào)傳承人
及其演述活動(dòng)的田野調(diào)查
劉曉敏
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院音樂(lè)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:爬山調(diào)是在內(nèi)蒙古西部河套地區(qū)廣泛傳唱的民間歌曲形式。烏拉特前旗是爬山調(diào)傳唱較為集中的地方。筆者以烏拉特前旗爬山調(diào)傳承人及其演述活動(dòng)為研究對(duì)象，通過(guò)采取口述訪談、參與觀察等方法，對(duì)當(dāng)?shù)嘏郎秸{(diào)的發(fā)展現(xiàn)狀、傳承人的功能與意義等相關(guān)問(wèn)題進(jìn)行討論。
關(guān)鍵詞：爬山調(diào)；傳承人；演述；調(diào)查
The Field Investigation About Performing activities of the Inheritors of Mountain Tune in Urat Front Banner in Inner Mongolia
LIU Xiao-min
(Music Department of the Artistic Institute, Inner Mongolia University, Hohhot, Inner Mongolia 010010 )
Abstract: Mountain Tune is a kind of folk song widely sung in the Hetao area in the west of Inner Mongolia. Urat Front Banner is a comparatively concentrated place where Mountain Tune was sung. The author takes the performing activities of the inheritors in Urat Front Banner as the research object. At the same time, by the methods of interviewing, observing and others, the paper discusses the issues related to the status quo of development, and the inheritors’ function and significance to the local Mountain Tune.
Key words: Mountain Tune Inheritors Performing Activities Investigation
浙江景寧畬族婚俗儀式民歌《借鍋歌謠》
音樂(lè)形態(tài)探析
吳 滌
（浙江麗水學(xué)院民族學(xué)院， 浙江 麗水 323000）
摘 要:畬族民歌是在畬族漫長(zhǎng)發(fā)展過(guò)程中不斷產(chǎn)生、演變和成熟的。而在全國(guó)各地眾多的畬族民歌中，浙江景寧畬族婚俗儀式中的民歌《借鍋歌謠》①尤為特別，無(wú)論從音列、變化音、調(diào)式等諸多方面都與傳統(tǒng)的畬族民歌對(duì)比明顯。本文對(duì)畬族民歌《借鍋歌謠》產(chǎn)生的背景、形成過(guò)程和其音樂(lè)形態(tài)進(jìn)行梳理剖析，力求對(duì)畬族民歌《借鍋歌謠》的形成要素以及音樂(lè)形態(tài)特點(diǎn)有著更為深入的認(rèn)識(shí)。
關(guān)鍵詞：畬族；景寧；畬族民歌；婚俗儀式；借鍋；變徵音；三聲腔
Zhejiang Jingning She Minority Wedding Custom Ceremony Folk Song "Borrow pan song" Music Morphology Analysis
WU Di
(Zhejiang Lishui University institute for nationalities,Zhejiang,Lishui,323000 )
Abstract: The she minority folk songs are constantly in the process of the development of She minority long emergence evolution and mature. And in all over the country she minority folk songs,zhejiang jingning she minority wedding custom ceremony folk song “Borrow pan song” in particular. No matter from the series of sound, altered tone, mode or many other aspects are compared with the traditional she minority folk songs are in stark contrast. The article through analyzing the background of she minority folk song "borrow pan song", the formation process and its music form. For the formation of the minority folk songs "borrow pan song" elements and characteristics of music forms have a deeper understanding.
Key words:She minority;Jingning;She minority folk song;wedding custom ceremony;borrow pan;get badge sound;three spoke.
試論化州“跳花棚”的藝術(shù)特色
馮 麗
（廣東石油化工學(xué)院音樂(lè)系，廣東 茂名 525000）
摘 要:廣東省化州地區(qū)的“跳花棚”，是一種帶有濃厚地方色彩的傳統(tǒng)民間舞蹈，已被列為國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)，具有較高的社會(huì)研究?jī)r(jià)值。筆者試從“跳花棚”的歷史淵源、表演形式、表演內(nèi)容等方面探究其藝術(shù)特色，以期進(jìn)一步了解、認(rèn)識(shí)它的價(jià)值所在，這將對(duì)“跳花棚”這一非物質(zhì)文化遺產(chǎn)的傳承和保護(hù)具有一定的現(xiàn)實(shí)意義。
關(guān)鍵詞：化州“跳花棚”；儺舞；藝術(shù)特色；價(jià)值
Studies on Artistic Characteristics in the Flower Dance of Huazhou
FENG Li
(The music Department of Guangdong Institute of Petrochemical Technology, Guangdong, Maoming,525000 )
Abstract: F"flower dance " of Huazhou is a kind of the traditional folk dance with a strong local color which has higher social research value and has been identified as a national intangible cultural heritage. The author attempted to examine artistic characteristics in aspect of historical origin, performance form, dance style, etc. The aim is to further understand its value, which will have a practical significance for the inheritance and protection of "Flower dance ".
Key words: "flower dance " of Huazhou; exorcism dance; Artistic characteristics; value
東巴畫的程式化特征研究
楊杰宏
（中國(guó)社會(huì)科學(xué)院民族文學(xué)研究所， 北京 100732）
摘 要:東巴畫是東巴文化的有機(jī)組成部分，是納西族先民創(chuàng)制的一種古老的繪畫藝術(shù)，依附于東巴教，并直接為其儀式服務(wù)，具有濃郁的宗教性、儀式性、實(shí)用性等特點(diǎn)。東巴畫的漫長(zhǎng)的歷史發(fā)展時(shí)期中沉淀生成了其獨(dú)特的藝術(shù)風(fēng)格及程式化特征，具體表現(xiàn)在東巴畫的畫譜、技法、造型、儀式應(yīng)用等四個(gè)方面。東巴畫的程式化特征研究必須與東巴文化的整體研究相結(jié)合，這既是東巴畫研究的難點(diǎn)所在，也是其必由之路。
關(guān)鍵詞：東巴畫；程式化；木牌畫；紙牌畫；卷軸畫
Study On The Stylized Features of The Dongba Painting
YANG Jie-hong
(Institute of Ethnic Literature, Chinese Academy of Social Sciences Beijing 100732 )
Abstract: The Dongba painting is an organic part of the Dongba culture. It is an ancient painting art created by ancestors of Naxi, attached to the Dongba religion and directly serve its rituals with strong characteristics of religious, ritualistic and practicality. During the long period of historical development, the Dongba painting formed its own unique artistic style and stylized features which had been shown in painting copybooks, techniques, shape and ceremony application. The Dongba painting’s stylized features must combine with the whole study of the Dongba culture, which is the difficulty of the Dongba painting research, however, it is the only way.
Key words: The Dongba painting; stylized; wooden painting; cards painting; scroll painting
山東泰安杜家莊木版年畫的藝術(shù)特色
劉 芳
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院美術(shù)系，內(nèi)蒙古 呼和浩特 010010）
摘 要:年畫顧名思義，是過(guò)年時(shí)節(jié)張貼的一種繪畫樣式。木版年畫最初起源于民間，歷史悠久，不僅是中華民族祈福迎新的“年文化”代表，而且也是一種獨(dú)特的民間工藝品，一種寄托廣大老百姓對(duì)美好未來(lái)憧憬的藝術(shù)表現(xiàn)形式。本文通過(guò)對(duì)杜家莊木版年畫的起源展開研究 ,嘗試分析杜家莊木版年畫的形式特征：分別從其起源、題材內(nèi)容、藝術(shù)特色和工藝制作幾方面進(jìn)行了相關(guān)研究，表現(xiàn)其濃厚的地域特色和藝術(shù)價(jià)值。
關(guān)鍵詞：杜家莊；木版年畫；題材內(nèi)容；藝術(shù)特色
Artistic Characteristics of Woodblock New Year Pictures in Du Guzhuang Village , Tai'an City, Shan Dong Province
LIU Fang
(Art Institute Of Inner Mongolia University Of Fine Arts, Inner Mongolia Hohhot 010010 )
Abstract: New Year painting, as the name implies, is a style of painting post during the Spring Festival. With a long history, Woodblock New Year's painting initially originated in the folk, it is not only the "Years of culture" of the Chinese to pray for orientation, and also a kind of unique folk arts and crafts, a vision of art forms for a better future of the ordinary people. This article through the research of origin of Du Guzhuang village woodblock New Year pictures, try to analyze the form of characteristics: From its origin, subject content, artistic characteristic and several aspects to research the production process. In order to express its strong local characteristics and artistic value.
Key words: Du Guzhuang village; Woodblock New Year pictures; Subject matter content; Artistic characteristics
內(nèi)蒙古和林格爾剪紙的田野調(diào)查
邢書宇
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:剪紙是我國(guó)國(guó)家級(jí)非物質(zhì)文化遺產(chǎn)，被國(guó)家列為非物質(zhì)文化遺產(chǎn)項(xiàng)目的內(nèi)蒙古和林格爾剪紙更是內(nèi)蒙古文化的瑰寶。內(nèi)蒙古和林格爾剪紙是當(dāng)?shù)乩习傩樟鱾饕丫貌⑶覐V泛應(yīng)用在生產(chǎn)生活中的藝術(shù)形式，是內(nèi)蒙古和林格爾地區(qū)長(zhǎng)期居住的蒙古族和漢族人民共同創(chuàng)造的民族民間造型藝術(shù)形式，也是內(nèi)蒙古文化藝術(shù)的具體體現(xiàn)。蒙漢各族人民長(zhǎng)期和諧雜居的經(jīng)濟(jì)文化模式，更賦予了和林格爾剪紙獨(dú)特的民俗特色和地域特色。
關(guān)鍵詞：內(nèi)蒙古；和林格爾；剪紙；民俗與地域特色
Field Investigation of Helingeer Inner Mongolia Paper Cutting
XING Shu-yu
(Institute for Art, Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )
Abstract: As one of the national intangible cultural heritages in China, paper cutting, especially Helingeer Inner Mongolia paper cutting, which has been listed as a part of the intangible cultural heritage program is a great treasure to the culture of Inner Mongolia. Helingeer Inner Mongolia paper is a kind of artistic form in many ways: It is an art form that has been widely applied both in general production and people’s daily lives with a long history among local people; It is an art form that was created by the collaboration of people from Mongolian and Han, reflected in its characterized national folk styles. Also, it is an embodiment of the culture and arts of Inner Mongolia. Furthermore, with the economical and cultural pattern, which has been formed through the mixed but harmonious community consisting of people from Mongolian and Han, Helingeer Inner Mongolia paper cutting has a strong folk and regional identity.
Key words: Inner Mongolia; Helingeer; Paper Cutting; Folk and Regional Characteristics
對(duì)《安妮恨史》的超越與展望：
美國(guó)黑人劇院的黑人戲劇
（美國(guó)）喬納森 .桑德爾1 著 張彥芬2 姜晶珂3譯 李修建4校
（1，美國(guó)阿卡迪亞大學(xué) ,美國(guó) 賓西法尼亞州格倫塞德 19038 2、3，內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010 4，中國(guó)藝術(shù)研究院，北京 100029）
關(guān)鍵詞：《安妮恨史》；美國(guó)黑人劇院；黑人戲?。徽雇?/p>
Looking Beyond Lucasta:
The Black Dramas of the American Negro Theatre
Written by Jonathan Shandell 1 Translate by ZHANG Yan-fen2
JIANG Jing-ke3 Proofread by Li Xiu-jian4
（1.Arcadia University(Glenside) ,America ,19038 ,2.3. Art College of Inner Mongolia University,Hohhot,Inner Mongolia 010010 4. Chinese National Academy of Arts, Chaoyang District, Beijing, 100029 )
Key words: Anna Lucasta;the American Negro Theatre;the Black Dramas;looking Beyond
文化產(chǎn)業(yè)背景下藝術(shù)批評(píng)的當(dāng)下意義
——《藝術(shù)智慧：對(duì)藝術(shù)消費(fèi)客體質(zhì)量的思辨》之思辨
葛麗英
（內(nèi)蒙古大學(xué)藝術(shù)學(xué)院，內(nèi)蒙古 呼和浩特 010010）
摘 要:在藝術(shù)發(fā)展的歷史進(jìn)程中，藝術(shù)批評(píng)增進(jìn)了人們對(duì)藝術(shù)作品的進(jìn)一步理解、推動(dòng)了藝術(shù)作品更為廣泛的傳播；在文化產(chǎn)業(yè)發(fā)展的全新背景下，藝術(shù)批評(píng)同樣應(yīng)該承擔(dān)起自身的責(zé)任。藝術(shù)評(píng)論集《藝術(shù)智慧：對(duì)藝術(shù)消費(fèi)客體質(zhì)量的思辨》面向近年來(lái)國(guó)內(nèi)流行藝術(shù)與區(qū)域民族藝術(shù)兩大文化市場(chǎng)，帶著深厚的民族情感、立足藝術(shù)生產(chǎn)與消費(fèi)視角，從審美的高度，對(duì)以蒙古族藝術(shù)為主的戲劇、影視、歌舞、造型等四大門類藝術(shù)作品進(jìn)行了深度的分析與解讀，是一部集多年藝術(shù)批評(píng)實(shí)踐與學(xué)術(shù)智慧于一體的心血之作。
關(guān)鍵詞：文化產(chǎn)業(yè)；藝術(shù)批評(píng)；藝術(shù)智慧；市場(chǎng)；消費(fèi)；審美
The Contemporary Significance of Art Criticism in the
Background of Cultural Industry
——On "Artistic Wisdom: the Speculation on the Quality of the
Object of Art Consumption"
GE Li-ying
(Arts College, Inner Mongolia University, Hohhot, Inner Mongolia, 010010 )
Abstract: In the historical process of the development of art, art criticism enhances people's further understanding of art works and promotes the wider dissemination of art works; in the new background of cultural industry, art criticism should also assume their responsibilities. For domestic pop art and national art two cultural markets in recent years, with a strong national sentiment, based on the production and consumption of art, and from the perspective of aesthetic height, art commentary “Art Wisdom: the Speculation on the Quality of the Object of Art Consumption” makes a deep analysis and interpretation on the Mongolian arts-based drama, film, dance, modeling, and other four major categories of art works, and is a set of many-year art critical practice and academic wisdom in one.
Key words: Cultural Industry; Art Criticism; Art Wisdom; Market; Consumption; Aesthetics