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沈阳市民在“我”和“咱”的使用上有地域特色,如亲兄弟姐妹之间谈及共同的父母时使用“我爸、我妈”,而朋友之间谈及非共同的父母时使用“咱爸、咱妈”等。这一语言使用地域特色的形成,既与“我”和“咱”二者的源流关系有关,也在一定程度上受到关东文化的影响,与关东地区的多民族融合、东北人的性格等都有不同程度的关联。 相似文献
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读小学时,每当老师布置写关于母亲的作文 时,总是咬着笔梢,绞尽脑汁,不能下笔。因为一提到“母亲”,人们想到的都是母爱,都是无微不至的关怀。人们把天下好的美的东西都比喻为母亲,“祖国——母亲”.“党——母亲”、“故乡——母亲”等等,“母亲”是神圣的、无私的、宽容的等等,总之,母亲是爱的象征。可在我的记忆中,总是挨母亲打骂,我不能以和同龄人同样的感受来叙述一个母亲对子女的爱,我曾因为写不出有关母爱的作文而在心底里暗暗地恨母亲、埋怨母亲:看我长 相似文献
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我公司为深入贯彻落实上级党委关于在党的基层组织和党员中深入开展创先争优活动的要求,在全公司开展了争创以“政治引领力强、推动发展力强、改革创新力强、凝聚保障力强”为主要内容的“四强”党组织,争做以“政治素质优、岗位技能优、工作业绩优、群众评价优”为主要内容的“四优”共产党员活动。 相似文献
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在多年的领导工作中,我深深体会到,一个单位领导要想领导好这个集体,必须要学会“听”,领导干部如何善“听”,我认为从以下几个方面体现： 相似文献
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人们把猫被鼠吃视为怪事，可我亲眼看到30只“猫”已被31只“鼠”吃掉了15只，残存的15只“猫”也被啃得破头断臂在半死中。更奇怪的是应该两败俱伤吧，不，31只“老鼠”个个健壮帅气，以英雄胜利者的姿态向人们炫耀……这个“事件”就发生在首都北京。这是怎么回事？听我目睹者慢慢道来…… 相似文献
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我一走进商亚东的画室,就感觉明亮、静谧.他时常独自躲在这里自由作画,呆上一整天的辰光,待到钱江边升起余晖才归去.一幅幅随意摆放的油画泄露着他的复杂情感.驻足画前,我在笔触的层层相叠交织中,揣测画面中人为何人、心有何想,接着又揣测作者创作时的心思. 相似文献
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101岁的一代大师离我们而去,中国古代书画鉴定界的＂国宝＂,永远闭上了双眼。徐邦达,1911年生于上海,祖籍浙江海宁。曾为故宫博物院研究员、国家文物鉴定委员会常务委员,西泠印社顾问。徐邦达集鉴定家、收藏家、书法家、画家、诗人、词家于一身,雅号＂徐半尺＂。2003年,他将一生创作的部分书画精品捐给故乡海宁,成立＂徐邦达艺术馆＂。 相似文献
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Elizabeth Berkowitz 《Culture, Theory & Critique》2017,58(3):294-305
In the exhibition ‘One-Way Ticket (2015)’, New York’s Museum of Modern Art (MoMA) presented African-American artist Jacob Lawrence’s series Migration (1941). However, despite a curatorial intention to do otherwise, MoMA’s exhibition diminished Lawrence as an artist and his Migration series as art by defining Lawrence as an African-American ‘painterly-historian’, rather than an American artist looking to an international art scene. This article examines ‘One-Way Ticket’ and compares Migration with exhibitions of Otto Dix’s 1924 Der Krieg series to demonstrate the racial bias undergirding even an honest attempt to pay homage to an artist outside of a white modernist mainstream. With the acknowledgement of profound differences in impact and scale, this article contends that there is a parallel between MoMA’s ‘One-Way Ticket’ and the consistent assumption of African-American otherness to a white norm undergirding today’s climate of racial unrest. 相似文献
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《Journal of Cultural Heritage》2014,15(2):136-143
The artist Jordi Teixidor is one of the leading exponents of twentieth century Spanish abstract art. In recent years, he has used a synthetic polymer as a support for his art work, namely polypropylene. The behaviour of this material in combination with layers of oil paint has not been studied until now. One of the objectives of this study was to chemically characterise the material present in Jordi Teixidor's work, using FT-IR spectroscopy, in order to be able to examine the behaviour of this set of materials after undergoing cycles of accelerated aging. After subjecting the samples to temperature and relative humidity cycles and ultraviolet radiation, their physico-mechanical behaviour was determined via tensile and bend tests, with the results being processed further by means of spectroscopic techniques and colour measurements. It was found that the possible migration of the additives present in the PP support and the gradual degradation of the materials could affect the adherence between the paint layers in the future. 相似文献
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《Journal of Cultural Heritage》2014,15(5):564-568
This paper deals with the scientific survey of Remo Brindisi's painting “Ragazzo seduto” (Seated boy), made at the end of the 1950s, that is a symbolic figure of both his personal artistic solitude and the crisis of values determined by the economic boom in the post-war period. In a period of great changes and economic regrowth, the need to find a new style that could be the most authentic and personal as possible pressed the artist to experiment innovative products, including non-conventional support. Photographic and analytical techniques demonstrated the use of innovative products as an experimentation tendency, that pressed the artist to use non-conventional support, industrially treated with plasticized PVC and primed with acrylate polymers and to paint with traditional and industrial pigments mixed with an oil-modified alkyd resin. In the span of a few years, an unexpected and extended degradation on the whole surface of the painting took place, with the consequent formation of lifting and detachment of the paint film. The detected alteration is mainly due to the fast ageing of the employed polymeric materials, actually responsible of the impermanence of many contemporary works of arts. Clarifying the unknown aspects of the Remo Brindisi's stylistic choices together with the deterioration processes of the employed painting materials, this paper highlights the general problems related to the conservation of contemporary art, a neglected area of research in Italy, where more efforts are committed to the enormous and more ancient cultural heritage. 相似文献