如何捕捉舞蹈形象

在舞蹈形象的塑造中,舞蹈形象的捕捉是舞蹈创作者的首要任务.舞蹈形象的捕捉,需要创作者对于生活的细致观察,创作者必须深入社会生活,善于观察生活中的每一个细节,丰富自我的经历,发现美、展现美,才能创作出优秀的舞蹈形象,给鉴赏者和观众带来美的享受.     

冠心病诊治中的过度医疗

近年来,过度医疗问题引起了医学伦理学界的普遍关注.过度医疗是一个经济现象,同时也是一个伦理问题,确切的说是一个医学-社会问题.结合冠心病过度医疗的特点,从医学伦理学角度剖析冠心病过度医疗的原因,并提出了医者、患者、医疗机构和社会针对冠心病过度医疗应采取的措施.     

舞蹈对人的生理心理作用的透析

舞蹈是一种人体动作的艺术,它是充分运用经过提炼、加工、美化的人体,作为主要表现手段,来表达人们的思想情感,反映时代风貌和社会生活。从现代健康学的角度讲,它与人类健康有着广泛而重要的关系。舞蹈在对促进心理健康,强身健体及心理治疗等方面都有着特殊的功效。舞蹈是人类生活中不可缺少的一部分。     

应激的基本理论与难治性慢性胃炎

内源性,外源性应激因素都会对人体心理和神经内分泌系统造成影响,在同一应激因素下由于人格不同可能有不同的应激反应.过度的应激是导致心身疾病的重要原因.多数难治性慢性胃炎和医源性应激关系密切,对慢性胃炎和FD在处理上应作为一种病去对症处理,不必过度强调抗Hp.医生在临床工作中,要注意规范言行,合理解释病情,避免医源性应激给患者带来心理创伤,减少医源性心理疾病的发生.     

关注肝炎的"过度医疗"

肝炎诊疗领域存在的过度医疗现象是最具代表性的,集中体现为过度使用联合治疗、过度进行化验等辅助检查、过度使用新特药物、虚假广告泛滥等等,肝炎患者承担了额外风险,不但身心受损,而且经济支出严重超标,因病返贫、因病致贫的现象比比皆是.过度医疗是目前不规范的经济大环境的必然产物,救死扶伤、人道主义本应是医疗工作的准则,现在拜金主义、经济效应第一成为医疗活动的目的,过度诊疗在所难免.另外患者的无知和盲目,以及尚不规范的市场环境加剧了过度医疗现象.制定行业规范,建立社会监督机制,与国际肝炎诊疗指南接轨,是克服和纠正诊疗过度的有效方法.     

国外环境心理学研究的新进展

人口过度增长和人类过度消费导致严重的环境危机,直接影响全球可持续发展。环境心理学是20世纪70年代以来在西方社会逐步兴起的一门新学科。当前,环境心理学家应更多与环境政策制定者和政府官员接触和对话,促进正确环境政策的决策和形成。同时环境心理学家应在人的环境知觉、环境压力和生活质量;环境心理学研究中的认知、动机和社会因素;可持续发展行为、生活方式和组织文化等方面加强研究与合作。.     

谈中国舞蹈审美形态传统

传统,是由历史沿传而来,具有一定特点的某种社会文化,如思想、道德、风俗、艺术、制度等.传统是长期的积累,具有相对固定的性质.中国舞蹈审美形态的传统,是在中国舞蹈数千年的演进发展中形成的,具有与中国其他艺术门类一脉相通的传统艺术精神.在中国传统文化精神和艺术精神的制约下,中国舞蹈在表演和审美形态方面的传统,主要体现在以下几个方面:     

舞蹈教育应促进学生的全面发展

人的全面发展问题是现代教育理论中的重大问题。这也是舞蹈教育工作者应该认真研究的课题。舞蹈教育不仅要使学生掌握舞蹈专业知识、舞蹈基本技能,而且要注重培养和提高学生高尚的道德品质和良好的人文精神,引导学生形成科学的世界观、人生观,树立爱国主义、集体主义、社会主义思想,培养学生良好的智力和能力。也就是说舞蹈教育应着眼于学生在舞蹈教学活动中的全面素质的提高。     

浅谈舞蹈艺术欣赏课的特殊性

“舞蹈艺术欣赏”课程在高校日益受到重视,它在提高大学生鉴赏美、创造美的能力方面有不可替代的作用。为此,在教学中,应把舞蹈知识与舞蹈动作有机整合,让学生用自己的身体感悟舞蹈;要注意以舞蹈欣赏为催化剂,激活学生创造性的思维。     

《普通高中音乐课程标准》对高师舞蹈教学的启示

<普通高中音乐课程标准>(以下简称<课程标准>)提出了"确立以音乐审美为核心的课程基本理念,构建适应社会发展需要的,体现时代性、基础性与选择性相结合的普通高中音乐课程,为每个高中学生音乐文化素养的终身发展奠定基础"的指导思想.对舞蹈教学,强调"舞蹈技能的学习固然是重要的,而音乐感知、体验及综合艺术素养,也不可忽视".并指出在教学中,"应注意音乐、舞蹈学习的有机结合",还对普通高中舞蹈教学内容明确了七条标准.这为九年义务教育音乐课程的舞蹈教学内容、教学形式的改革指明了方向.     

Seeing movement: Dancing bodies and the sensuality of place

This paper investigates how the study of dance and the visibility of the moving body can be used to rethink the conceptualisation of place. Examining the dancing body reveals an unspoken corporeal knowledge that subsists in our engagement with the everyday world, and exceeds our ways of talking or writing about dance as an art form. The body inscribes the space it moves across, leaving trajectories and choreographic lines and, due to its tangibility, also comes to corporeally fill or occupy a place. It is about understanding the movement of bodies in terms of the physical expression of the performer but also from the perspective of an audience, which serves as a third person perspective on corporeal expression. When watching a body move, the observer becomes attentive to the gestures, rhythm, intentionality, and the crowd of virtual movements that accompany it. Through the work of dance theorists such as Rudolf Laban, we examine how the dancing body oscillates between the intentional and the observed in the constitution of the sensual dimensions of space. Most importantly we explore how dance shifts the point of focus away from place as a locale to place as a site of corporeal witnessing.     

Children's understanding of emotion in dance

This study investigated children's understanding of emotion in dance movements. Professional dancers were instructed to improvise on the emotions of joy, anger, fear, and sadness and to transform these improvisations into short solo dances, which were recorded on video. Eight performances were selected for use as stimuli. Children, aged 4, 5, and 8 years, and adults watched these performances and indicated which of the four emotions they perceived in the respective performance. All age groups achieved recognition scores well above chance level. As a rule, 4-year-olds' recognition was inferior to that of the other age groups, but in some cases either girls or boys of this age achieved as good a recognition as one or more of the other age groups. The 5-year-old children achieved recognition levels close to those obtained for 8-year-olds and adults. A cue analysis based on the Laban movement analysis suggested that force and tempo in movement were the key factors for emotion recognition.     

佛教文化的社会价值与影响

佛教文化在推动文明进步和发展的历史长河中,创造出举世瞩目的文化成就,发挥着重要的社会功能。在现代社会走向成熟的过程中,物文化的严重弊端也开始显现。现代性危机归根到底是一场"人类自我认识的危机",是物文化无法超越自身局限性的必然结果。只有我们的文化精神超越物文化、达到新的层次,才有可能从根本上消除这场危机。文化精神的向内超越,必须借助于丰富深刻的智慧见地。在东方文化的土壤中,这种内向的心灵智慧发展得尤其充分,东方圣哲们的智慧结晶共同构成了"心文化"的主要内容。这场朝向内心的伟大进军势必开启人类社会的第三次伟大变革。     

亚威信仰与古代以色列社会——歌德瓦与马克思主义社会学圣经批评

圣经社会学批评是当代影响最大的圣经批评学流派之一,源自现代圣经批评学,但将社会学理论系统地运用到圣经批评中形成圣经社会学批评,则始于上世纪六七十年代。歌德瓦是圣经社会学批评的奠基人之一。他成功地将马克思主义社会学理论引入到圣经批评学之中,重构了以亚威崇拜为中心的古代以色列社会。他从"反抗模式"出发,论述了亚威信仰和崇拜源于受压迫的乡村农牧民,他们平等的社会关系导致了亚威信仰的诞生;亚威崇拜对早期以色列社会的作用不仅产生一套"伦理规范",更是深入社会结构深层的权力象征,在以色列人的社会、经济和文化方面发挥着独特功能,是维系以色列共同体平等的社会关系和抵御外来侵略不可或缺的力量。     

循证医学在眼科临床实践中的应用

循证医学是在Internet蓬勃发展并极大推动社会信息化和网络化的大背景下,将临床流行病学、现代信息学与临床医学相互交叉融合的新兴边缘学科。它的出现使临床医学面临巨大的挑战,已使得行医模式由理论知识加以个人经验为指导的传统经验医学转向现代循证医学。这将是传统医学模式向循证医学模式转变的一场深刻变革,也是本世纪临床医学发展的必然趋势。     

现代舞训练与弦乐训练对脑灰质体积的差异影响

目前舞蹈与音乐两种训练对脑灰质结构影响的差异尚不明确。本研究利用基于体素的形态学分析方法(voxel-based morphometry, VBM), 比较现代舞训练被试、弦乐训练被试与对照组被试的脑结构磁共振数据。结果表明现代舞训练组在涉及感觉运动控制的皮层、皮层下结构及小脑多个区域出现灰质体积的显著增加与减少; 弦乐训练组则在与音乐训练直接相关的听-动-读皮层出现灰质体积的显著增加。这一发现提示现代舞训练可能系统性地影响广泛脑区的灰质结构, 弦乐训练可能局部地改变了具体功能脑区的灰质结构, 两种训练对脑灰质结构的影响模式存在差异。     

传统家训消费伦理观的现代审思

传统家训消费伦理是中国古代社会特定的政治经济文化因素综合作用的产物。在古代社会它曾对提升人们的道德水平、调节社会经济生活中的矛盾、稳定家庭和社会的秩序起过积极的作用。在现代社会,它对于推动中国特色市场经济的建设及和谐社会的建构,对于既有民族特色、又具时代意义的现代消费伦理观的建构,具有重要的启示意义。     

The Root of Dance Therapy: A Consideration of Movement,Dancing, and Verbalization vis-à-vis Dance/Movement Therapy

How and when does dance become therapy? And why is there a need for such intervention? The author, one of the great choreographer Balanchine's prima ballerinas and a professional choreographer in her own right as well, ranges far in seeking societal as well as individual causes for the creation of a new psychotherapy. She uses her passionate adherence to dance per se as a vantage point from which to view humanity's trials and tribulations. She also opens a door into the realm of professional, performing dancers who wanted to give their dancing to the world. Her ironic wit takes note of the nondancers who want to be dance therapists. She also draws a loving portrait of one of the originators of dance therapy in the United States, Marian Chace, who became her friend and mentor.     

Tiny dancer: Body image and dancer identity in female modern dancers

Dance has been found to both enhance and undermine body image. Most of the literature has focused on ballet dancers and has neglected the role of identity as a dancer. This study assessed general and dance specific body image and dancer identity in 77 female modern dancers. Compared to samples of non-clinical college women, this sample had higher body appreciation and lower drive for thinness and self-objectification. White dancers in the sample also had positive levels of dancer body efficacy/acceptance whereas as non-White dancers had negative levels of this variable. Identity as a dancer was negatively correlated with body appreciation and dancer body perceptions and not related to the number of years of dance experience. Of general and dance specific body image, body appreciation emerged as the unique predictor. The findings warrant further research on positive body image, modern dancers, and identity.     

Religiosity and Economic Development in Singapore

This paper examines religiosity in modern and industrialized Singapore. Several theories argue that economic development brings about secularization and the general decline of personal religiosity in modern and industrialized societies. Using data gathered from the World Values Survey-Singapore (2002) as well as data from other sources, this article finds that Singaporeans are not very secularized; they are religious (religion is important in people's lives); they have a high level of belief in (metaphysical) religious aspects; and they fulfill their religious obligations and activities. The main reasons for this apparent lack of secularization are, firstly, that religion is deeply embedded in Singapore society; secondly, that the state has both directly and indirectly promoted religion; and thirdly, that a process of religious rationalization has taken place.