《内蒙古大学艺术学院学报》
2013年第2期中英文论文摘要、关键词
“孛儿只斤”（蓝眼睛）——天狼种的标志
——阿阑豁阿感生神话传说再研究
阿尔丁夫
(内蒙古师范大学文学院，内蒙古 呼和浩特 010022)
摘 要：“孛端察儿成了孛儿只斤氏”。“孛儿只斤”，拉施特的解释是“蓝眼睛”的意思。布里亚特蒙古人直到上世纪后期尚将狼称为“蓝眼睛”，并非由于成年狼的眼色在黑暗中看上去呈蓝色，而是源于未出满月的狼崽眼上蒙着一层灰膜，看上去“蓝汪汪的”。拉施特将“蓝眼红发”历史化，固不足取，但他将“孛儿只斤”（蓝眼睛）同阿阑豁阿感生神话传说之间的关系视作因果关系，则难能可贵。事实上，“孛儿只斤”（蓝眼睛）——正是天狼种的标志。
关键词：孛端察儿 ；孛儿只斤氏 ；蓝眼睛 ；天狼种的标志
"Bojigin" (Blue Eyes) ——A Sign of Sirius
—— Re-study of Alanhua's Totem Ingravidation Legend
Ardinhu
(School of Liberal Arts of Inner Mongolia Normal University, Hohhot 010022,Inner Mongolia)
Abstract: " Budancar" turned into "Bojigin" . Rashid's explanation is "blue eyes". Up till to the late last century, Buryat Mongols called the wolf "blue eyes", not because the color of the adult wolves' eyes look blue in the dark, but the reason is that baby wolves' eyes younger than one month are covered with a layer of grey film which looks "blue". It is not acceptable that Rashit explains the "blue eyes and red hair" from the point of view of history, but it is praiseworthy that he relates "Bojigin" (Blue Eyes) with Alanhua's totem ingravidation legend. Actually, "Bojigin" (Blue Eyes) is a sign of sirius.
Key words: Budancar; Bojigin; blue eyes; a sign of Sirius
40年代苏尼特右旗女子学校及其音乐教育
萨出拉
（内蒙古大学艺术学院音乐系，内蒙古 呼和浩特 010010）
摘 要：1941年德穆楚克栋鲁普（简称德王）在苏尼特右旗建立了家政女子学校。翌年再建一所兴蒙女子小学。两所女子学校直至1947年几乎招满了当地学龄女孩。此外还向西土默特地区招进四个女孩。最终两所学校因战乱只有两个班结业而解散。40年代苏尼特右旗女子学校虽说起步相对较晚，可它在短短的几年学校教育中却实现了民间传统文化传承思维方式和现代新式教育科学性思维方式的结合。它是基于传统游牧生活之上的民族化、生活化的现代新式女子教育空间。同时它也是特定时期的政治文化语境中的民族使命。因此它重视现代普适性知识的同时更加重视本土化的、地方性知识。它提倡一种民族化的、生活化的教育。其音乐教育尤为独特。无论是音乐课的口传心授、歌舞结合式教学方式还是其学校歌曲词曲的编创特点无不体现它对传统文化与音乐思维方式的尊重与传承，体现注重实践能力、即兴创造能力和趣味性等教育特征。
关键词：女子学校；音乐教育；教育特征
Sunid Right Banner Girl's School and Its Music Education in 1940s
Sachira
(Music Department of Art College of Inner Mongolia University Hohhot 010010,Inner Mongolia)
Abstract: Demchugdongrub (referred to as King De) built a housewifery school for girls in 1941 in Sunid Right Banner. And the next year another Xingmeng girl's primary school was set up. The two girls' schools had enrolled almost all the local girls at school age until 1947 in addition to the four girls from West Tumud area. Finally the two schools and dissolution were all dismissed due to the war chaos. Although the Sunid Right Banner school started relatively late in 1940s, it achieved the combined of the folk cultural heritage of thinking mode and the modern educational scientific way of thinking within a few years. It is the education space based on traditional national nomadic life for the modern women. At the same time it was also the national mission in the specific period of political and cultural context. Therefore it valued great importance to modern universal knowledge at the same time, paid more attention to the localization, local knowledge. It advocated a kind of national and living education. Its music education was very unique. Whether it is music, song and dance combination type oral teaching that inspires true understanding within the school teaching methods or songwriters creative characteristics are reflected in its traditional culture and music thinking respect and inheritance, emphasizing practical ability, creative ability and interest of improvisation education characteristics.
Key words: girl's's schools; music education; education features
民族音乐学一席谈
——安东尼·西格尔给亨利·金斯伯里的复函
安东尼·西格尔（Anthony Seeger）著 周丽青 译 罗易扉 校译
(美国加利福尼亚大学洛杉矶分校 90024)
摘 要：民族音乐学学科的设立与否一直是学界的争论？设立此学科或许不一定是必须的，但是至少有一点是肯定的，那就是民族音乐学不应该被音乐社会学(sociomusicology)所取代。多年以来，关于民族音乐学，我最喜欢的一点便是各类关于民族音乐的会议。因为来自不同学术背景的人，带着他们各类关于音乐表演以及方法论问题集聚一地，盛况空前地讨论问题。
关键词：民族音乐学；语言学；学科领域
On the National Musicology
——Reply to Anthony Seagal from Henry Kingsbury
Written by Anthony Seeger,
Translated by Zhou Li-qing, Proofread by LUO Yi-fei
(University of California at Losangeles, 90024,the United States)
Abstract: It has been an academic debate whether or not to set up the national musicology subject. The establishment of this subject may not be necessary, but at least one thing is sure that national musicology should not be replaced by sociomusicology. Over the years, what I like best is the various national musicology conference. Since people from different academic backgrounds gather to discuss issues on musical performances and methodology.
Key words: ethnomusicology; linguistics; disciplines
论长调与马头琴的同构关系
布林
（内蒙古电视台，内蒙古 呼和浩特市 010010 ）
摘 要：蒙古族的乌曰汀哆与马头琴是游牧文化的双胞胎姊妹艺术。一个是声乐，一个是器乐，两者旋律旋法及其审美本质特征最大差异只在于有无唱词之别。乌曰汀哆与马头琴的诺古拉、塔希拉嘎基本一致;然而，本文主张不能把塔希拉嗄隶属于诺古拉范畴。诺古拉与塔希拉嘎无论从其词意乃至听觉效果,表现技巧皆不同，在乌曰汀哆与马头琴演唱演奏艺术中把诺古垃塔希拉嘎两者的概念定义分别确立，以利准确传承与保护。
关键词：乌曰汀哆(长调)；马头琴；诺古拉；塔希拉嘎；游牧文化姊妹艺术
On the Isomorphism Relation between Long-tune
Songs and Horse-head Musical Instrument
Buren
(Inner Mongolia TV station, Hohhot City, 010010, Inner Mongolia)
Abstract: Mongolia Urdinduu and horse-head musical instrument are twin sister art in nomadic culture. One is vocal music, and the other is the instrumental music and the maximum difference is whether it has lyrics inthe aesthetic characteristics. Urdinduu is basically identical to Nugula and of horse-head musical instrument; however, this paper argues that Tashilag does not belong to the Nogola category. They are different in its meaning and sound effects, performance skills. We should separately define the two concepts concerning performance to facilitate accurate inheritance and protection.
Key words:Urdinduu ; horse-head musical instrument; nugula; Tashilaga; nomadic culture sister arts
浅论蒙古族三弦演奏技巧与蒙古族民间音乐内涵的关系
李锡波
（河北艺术学院，河北 石家庄050011）
摘 要：2012年11月11日，中央音乐学院举办了蒙古族三弦音乐周国际研讨会，本人受组委会邀请有幸参加了研讨会，大会期间倾听、观摩了各位与会专家、学者对蒙古族三弦的讲座及演奏，其中由中央民族大学研究员乌兰杰、内蒙古大学教授杨玉成、蒙古国国立文化艺术大学教授乌云其木格等等，进行的三弦讲座使我感触颇深、受益匪浅。民族乐器——三弦，随着蒙古人民的日常生活，经历了漫长的传承和发展过程，现已成为蒙古民族音乐文化长河中，绚丽灿烂的器乐种类。随着时间的流淌，蒙古三弦越来越受到广大人民群众的喜爱与传承，同时也受到业内、业外人士的青睐与认可。蒙古族人民历来以能歌善舞热情豪放立足于我国的多民族之林，蒙古族把三弦、四胡、马头琴、竹笛称为蒙古民族的“四大件”乐器。本文通过文字阐述，对蒙古族三弦及三弦在蒙古民歌伴奏中的演奏技法进行了剖析。
关键词：蒙古；三弦；演奏；长调；短调；技巧；心理
The Relationship between Mongolia Sanxian Playing Skills
and Mongolian Folk Music Connotation
LI Xi-bo
(Hebei Art Institute, Shijiazhuang 050011, Hebei)
Abstract: On November 11, 2012, Central Conservatory of Music held the International Seminar Mongolia Sanxian Music Week. I was invited to participate in the seminar, during the general assembly, listened to, observed, the playing and lecturesgiven by all the experts, scholars of the Mongolia Sanxian, among which there are Minzu University of China researchers Wulanjie, Inner Mongolia University professor Yang Yucheng, professor Uyunqimg from Mongolia National University of the Arts culture and so on. I have deep impression on three lectures with much benefit. National instruments --, along with the Mongolia people's daily life, the long inheritance and development of, Mongolia have become the national music culture, magnificent and splendid music types. As time goes by, Mongolia Sanxian increasingly favored and inherited the broad masses of the people's favor and recognition, and also gort recognition of many people. Mongolian people have always been good at singing and dancing among China's nationalities, three-stringed,Sanxian ,four-stringed musical instrument and horse-head musical instrument and bamboo flute are the four main musical instruments of Mongolian nationality. This paper analyzes Mongolia Sanxian and the playing techniques
Key words: Mongolia; Sanxian; performance; long-tune; short -tune; skills; psychology
浅论蒙古高音四胡乐曲的素材
来源及其构成
包爱玲
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要：民歌、民间歌舞、说书调、民间器乐曲是蒙古高音四胡的曲目及其曲调素材来源。本文将蒙古高音四胡原有的曲目及其素材与现有的曲目做比较，力求窥探作曲家是如何运用这些素材进行改编、创作四胡音乐的，其素材在乐曲中的作用和地位以及表现特征。
关键词：蒙古高音四胡；民歌；说书调；民间器乐曲；民间歌舞
Mongolia High Pitch Four-stringed Musical Instrument
and the Source of Its Tune Material
BAO Ai-ling
(Art College of Inner Mongolia University, Hohhot 010010, InnerMongolia)
Abstract: Folk songs, folk dance, storytelling tune, folk instrumental music are the sources of Mongolian high pitch four-stringed musical instrument and its tune material. This paper compares the original music with nowadays existing ones, trying to find out how the composer use these materials in adapted music creation, the role and characteristics status of the material in the music and performance.
Key words: Mongolian high pitch four-stringed musical instrument; folk songs; storytelling tune; folk instrumental music; folk dance and song
从洞经音乐到“纳西古乐”
——丽江洞经音乐的本土化与身份重构
杨杰宏
（中国社会科学院民族文学研究所， 北京 100732）
摘 要：丽江洞经音乐由原来的“道教音乐”先后嬗变为“文人音乐”“雅乐” “丽江古乐”“纳西古乐”等不同名称，从中折射出不同时代的语言对这一族群艺术身份的不同定位。从丽江洞经音乐的本土化最终结果来看，不同族群之间的文化融合与认同，既有利于消除社会阶层的对立与族群鸿沟，也有利于族群及其文化的重构与地方文化的多样性发展，由此也阐明了洞经音乐作为一种文化艺术在族群文化重构中的意义与功能。
关键词：洞经音乐；纳西古乐；族群身份；文化认同
From the Dongjing Music to "Naxi Ancient Music"
—— The localization and identity reconstruction in Lijiang Dongjing music
YANG Jie-hong
(Ethnic Literature Institute of Chinese Social Sciences Academy, Beijing 100732)
Abstract:Lijiang Dongjing music has evolved from the original "Taoist music" into a "music" and "scholar music", "ya music", "Lijiang ancient music" "Naxi ancient music" and other names, from which reflects the different positioning identity of different group of art language. From the localization result of Lijiang Dongjing music, we see that culture and identity between different ethnic groups, is conducive to eliminate the opposition and ethnic division of social class, and it is also helpful to the development of reconstruction of ethnic and cultural diversity and local culture. This paper also clarifies the significance and function of Dongjing music as a cultural art in reconstruction of the culture of ethnic groups .
Key words: Dongjing music; Naxi ancient music; ethnic identity; cultural identity
辛沪光交响诗《嘎达梅林》的节奏特征
巩贺凯
（内蒙古民族歌舞剧院，内蒙古 呼和浩特 010050）
摘 要：节奏是音乐重要的组成要素，通过节奏可以将调式音列中的各音组合成具有一定意义的音调，并赋予其活力。翻阅交响诗《嘎达梅林》的总谱，我们会发现节奏的合理安排以及丰富变化是这首作品的一个主要特点，作曲家辛沪光凭借其对音乐的准确把握，将不同的节奏型进行合理安排，使乐曲真实的再现了嘎达梅林英勇起义的那一段历史故事。
关键词：辛沪光；交响诗；嘎达梅林；节奏型
The rhythm feature of Xin Hu-guangs Symphonic Poem "Gadamerin"
GONG He-kai
(School of music, Inner Mongolia Normal University, Hohhot 010022, Inner Mongolia)
Abstract: Rhythm is an important element of music, through which the music tone sound can be combined into a certain meaningful tone, and show vitality. Reading Symphonic Poem "Gadamerin", we will find the reasonable arrangement of rhythm and rich change is one of the main characteristics of this piece, the composer Xin Hu-guang uses her accurate grasp of the rhythm of music, f reasonably arranges the different types so that the music reflects the real historical story of heroic uprising of Gadamerin.
Key words: Xin Hu-guang; symphonic poem; Gadamerin; rhythm
从儿童钢琴曲《安代传说》
看民族音乐语言的现代阐释
杨玉蓉
（内蒙古师范大学音乐学院，内蒙古 呼和浩特市 010010）
摘 要：安代舞是蒙古族传统民间歌舞，节奏热烈欢快。其最早源于蒙古族萨满教，即：博教。关于蒙古族安代文化，以及安代音乐、舞蹈的理论成果较为丰富，为研究蒙古族民间歌舞艺术提供了理论依据。以“安代”为题材创作的钢琴作品还不多见，本文以蒙古族的安代文化研究为线索，以《儿童钢琴曲集——安代》中的10首《安代传说》为例，解析曲作者将蒙古族的安代文化传统观念融入儿童钢琴曲《安代传说》，将蒙古族的安代文化传统与西方传统复调创作技法创造性的结合。旨在通过儿童钢琴音乐教育，向世界介绍中国蒙古民族的民间音乐魅力，使其焕发时代的气息。
关键词：安代研究；儿童钢琴曲；10首《安代传说》；创作技法
Viewing the National Musical Language from the Modern Interpretation of the Children's Piano Music " Andai Legend"
YANG Yu-rong
(School of Music, InnerMongolia Normal University, Hohhot 010010, Inner Mongolia)
Abstract: Andai dance is the Mongolia traditional folk songs and dances with warm and lively rhythm. It originated from Mongolian Shamanism. There are rich theoretical results about Mongolian Andai culture, Andai dance and music, providing the theory basis for the research of Mongolia folk song and dance art. The piano works with the theme of Andai are rare. This article, taking the cultural research on Mongolia Andai culture as a clue, and chooses the 10 " Andai Legend" from the Children's Piano Music ---Andai to analyze how the composer melted the Mongolia nationality Andai cultural tradition into the piano song " Andai Legend", and give analysis of the creative combination of the Mongolia nationality Andai tradition and western traditional polyphony creation technique. Aiming at children's piano music education, it introduces China's Mongolian ethnic folk music to the world, making it full of the spirit of the times.
Key words: Andai research; piano music for children; 10 "Andai legend"; composing techniques
钢琴协奏曲《安岱》主题之分析
华夏
（内蒙古师范大学音乐学院，内蒙古 呼和浩特 010022）
摘 要：钢琴协奏曲《安岱》是我国蒙古族作曲家莫尔吉胡先生首创的民族乐器与钢琴相结合的作品。该作品运用科尔沁草原上的民间歌舞“安代”作为题材进行创作，对于继承和发展民族民间音乐起到了巨大的推动作用。本文对于作品主题进行分析，进一步发掘其音乐作品中流露出的民歌素材。
关键词：莫尔吉胡；钢琴协奏曲；《安岱》；主题
Analysis of theme of the Piano Concerto"Andai "
HUA Xia
(School of Music, InnerMongolia Normal University, Hohhot 010022, Inner Mongolia)
Abstract: The Piano Concerto "Andai" is created by the Mongolian composer Meregjihu with the combination of national instrument. This work uses the Horchin folk song and dance "Andai" as the theme creation, has played a great role in promoting the inheritance and development of folk music. This paper analyses the theme of the work and further explores folk song elements in his music works.
Key words: Meregjih; Piano Concerto; "Andai"; theme
青海热贡“六月会”仪式音乐叙事解读
——以同仁县隆务镇四合吉村“六月会”为例
曹娅丽 邸莎若拉
（青海民族大学， 青海 西宁810007）
摘 要：本文对青海热贡“六月会”仪式音乐做了精细地记录和描述分析；既关注六月会与仪式音乐的叙事形态，包含独特的古老民歌、咒语、预言以及各种叙事，又梳理、分析并强调仪式音乐有着独自的结构和审美特点，并致力于对这些特点的揭示和发掘。试图阐述六月会叙事性和仪式音乐形态。从而为进一步研究中国少数民族仪式音乐和构建其理论奠定基础。
关键词：六月会；仪式；音乐叙事
Interpretation of the Music Narration of the Qinghai Regong
" June Ceremony"
—— A case study of " June Ceremony" of Siheji Village, Longwu Town, Tongren County
Cao Yali Di Sha ruo-la
(National University of Qinghai, Xining 810007, Qinghai)
Abstract: This paper makes a fine record and description of " June Ceremony" in Regong of Qinghai province, not only pays attention to the narrative form of the music containing the unique ancient folk songs, incantation, prophecy and various narration, and carding, analysis and emphasis of the ritual music, and tries to reveal the structure and aesthetic features. It attempts to illustrate the the narrative and ritual music form so as to further study Chinese ethnic ritual music and lay the foundation for the theory building.
Key words: " June Ceremony"; ceremonies; music narration
宝鸡官村寿峰寺清末壁画调查研究
李强
（宝鸡文理学院美术系，陕西省 宝鸡721013）
摘 要：宝鸡官村寿峰寺，始建于明成化年间，寺内的古建筑保留有清末壁画与建筑彩画，壁画保存面积大，表现内容丰富。寿峰寺壁画绘画手法精湛，人物造型生动，堪称民间壁画的精品。与其它地区寺观壁画比较，在人物塑造，线条的形式风格，内容题材的表达上都有其历史传承与地域特色，值得保护并加以研究。
关键词：寿峰寺；建筑壁画；佛教
An Investigation of Fresco in the Shoufeng Temple of Baojiguan Village, in the late Qing Dynasty
LI Qiangn
(Fine Arts Department of Baoji University of Arts and Sciences, Baoji 721013, Shaanxi Province)
Abstract: Shoufeng Temple of Baojiguan Village was built in the Ming Dynasty, the ancient temple building retains frescos and architectural painting in Qing Dynasty, with large area of fresco preservation with rich content. Shou Feng temple fresco painting is exquisite with vivid characters, called folk fresco boutique. Compared with the temple frescos in other areas, they have the historical and geographical features in characters, lines in the style, content and expression of theme worthy of protection and research.
Key words: Shoufeng Temple, architectural fresco; Buddhism
内蒙古锡林郭勒盟乌珠穆沁草原熏皮蒙古袍制作的田野调查
——以熏制皮料为主要考察内容
塞娜
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要：服饰不仅体现了一个民族的生活习惯和审美需求，同时也蕴含了丰富的历史意义。做为非物质文化遗产的乌珠穆沁熏皮袍，在经历了几百年历史后走到今天，已经出现濒临灭绝的困境。本文通过调查和采访当地手工艺人了解了熏皮的制作工艺和传承现状以及面临的问题。
关键词：乌珠穆沁熏皮袍；手工艺；文化遗产；传承
The Field Work of the Mongolian Smoked Leather Gown Making
of Ujumqin Grassland of Xilingol League of Inner Mongolia
——Take smoked leather as the main investigation content
Saina
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract:The dressing not only reflects a nation's living habits and aesthetic requirements, but also contains rich historical significance. As the intangible cultural heritage, Ujumqin gown, hundreds of years of history till today, has been in the endangered plight. This article gets to know about the production process and the status quo of inheritance of smoked skin and interviews the local craftsmen for investigation.
Key words: Ujumqin smoked leather gown; crafts; cultural heritage; heritage
湖南沙坪湘绣转型与发展的调研报告
焦成根 谢洋慧 孙舜尧
(湖南师范大学工程与设计学院，湖南 长沙 410081)
摘 要：湘绣作为非物质文化遗产，在市场经济环境中如何寻求再生，要通过文化研究与市场创新的双轨实践。“中国湘绣之乡”沙坪作为现代湘绣的发源地，拥有规模最大的湘绣生产集群，在行业模式、人才培养、工艺创新等现代湘绣的转型与发展等方面，有着较为显著的个案研究意义。
关键词：湘绣；行业；校企合作；市场经济；发展
Research Report of Hunan Shaping Xiang Embroidery Transformation and Development
JIAO Cheng-gen XIE Yang-hui SUN Shun-yao
(College of Engineering and Design, Hunan Normal University, Changsha410081, Hunan Province)
Abstract: As intangible cultural heritage, embroidery should seek for the revival in market economic environment through the dual practice of cultural research and market innovation. Shaping ," Chinese embroidery town" as the birthplace of the modern embroidery, has the largest industry pattern , and it has very significant research meaning in personnel training, technology innovation, transformation and development in modern times.
Key words:Xiang embroidery; industry; school-enterprise cooperation; market economy; development
颜色考古学：昆士兰西北部宛依
彩虹的颜色及力量
保罗·S.C.塔森 著 李修建 杨小晖 译 李修建 校
（澳大利亚昆士兰格里芬斯大学黄金海岸校区4222）
摘 要：2002年，我们结合持续的考古发掘，对宛依地区的岩画艺术进行了一项调查。我们记录下了各种各样的主题、风格、和技巧，并从宛依老人那里记录下了相关的口述历史，将其与考古学档案进行了评估判断。还记录了大量彩虹般的图样，包括红色的和红黄两色的，以及一条华丽而巨大的红黄相间的彩虹蛇。我们对这些以及其他关于古人的旅行、彩色颜料的故事与使用当地的石头作为工具和标记重要的精神场所的图像进行了探讨。一个连接横跨澳大利亚北部和中部社区的网络突显了出来。我们的结论是：颜色在表达和维持地域关系、古人和其他群体的关系上具有根本性的作用。在将其与别的地区的原住民的颜色使用方式进行比较时，可以看出重要的地方差异。本研究强调了色彩研究对于考古学具有普遍性的价值。
关键词：颜色；宛依；彩虹蛇；考古学
Color Archaeology: Queensland, the Colors of the Rainbow and Strength of Waanyi in the Northwest
Written by Paul S.C. Tason, Translated by LI XIiu-jianand YANG Proofread by Li Xiu-jian
(Queensland GriffinUniversity, Gold Coast, 4222)
Abstract: In 2002, we combined the ongoing archaeological excavation to a survey of cliff painting in Waanyi . We recorded a variety of themes, styles, and skills, and recorded the oral history related from the Waanyi old people, making evaluation and judgment with the archaeological records.
We also recorded a lot of patterns like rainbows, including red and yellow ones, as well as a gorgeous and huge red yellow rainbow snake. We discussed these and other stories of travel, color pigment with the use of local stone as a tool and the image marking important spiritual place. A network connecting across northern and central Australia community has been highlighted. Our conclusion is: color is fundamental in the expression and maintenance of regional relations and plays an important role in relations between the ancients and the other groups. When compared them to the colors used by other aboriginal, we can see important local differences. This study emphasizes the universal value of color research for archaeology
Key words: color; Wannyi; rainbow snake; archaeology
浅议如何培养在视觉传
达设计中的创意思维
敖玉楣
（内蒙古呼和浩特职业学院美术与传媒学院，内蒙古 呼和浩特 010010）
摘 要：在当今数字化、信息化极度发达的时代与科技飞速进步的社会中，设计师如何运用准确、直观的视觉符号传递出正确、充分的信息内容。并将其在众多使用视觉媒介传递的信息中脱颖而出，使信息接受者能最大限度的获取设计师所表达的思想以及内容，并且使信息接受者产生过目不忘的感觉。这将是笔者在本文中所提出创意思维对于设计师的重要性，并且研究如何去培养视觉传达设计中设计师的创意思维。
关键词：创意思维；视觉传达设计；设计师；表现手法
An Approach to How to Cultivate the Creative Thinking in the Visual Communication Design
AO Yu-mein
(School of Art and Media, Hohhot Vocational College, Hohhot 010010, Inner Mongolia)
Abstract:In the era of extremely developed the digitalization and information and in the society with rapid progress of science and technology, It is important for the designers to use accurate, intuitive visual symbols to transmit the correct, sufficient information. And they stand out in the tremendous visual media information to enable the information receivers to obtain maximum thought and content with an extraordinary retentive memory. This article points out the importance of the creative thinking for the designers and makes research onn how to cultivate the designer's creative thinking in visual communication design.
Key words:creative thinking; visual communication design; designer; expression skills
开掘心灵世界的艺术
——曹禺与奥尼尔剧作表现主义技巧比较
孙晓燕
（内蒙古大学艺术学院，内蒙古 呼和浩特 010010）
摘 要：在艺术表现上，曹禺和奥尼尔都大量运用内心世界的外向化和别具一格的象征手法，带有表现主义戏剧的鲜明个性。通过面具、独白、旁白、音响、分割演区等革新了的喜剧演出手段，描摹人物的内心世界、展现心理冲突、揭示人物命运。他们善于把个人与社会的冲突放在人物的心灵内部来进行，绕过人物的外部动作而将隐藏在背后的真实，即心理的真实直接揭示出来。奥尼尔和曹禺剧作中大量的象征意象成为他们悲剧意识的美学载体，他们两人的悲剧具有诗的美学价值。
关键词：曹禺；奥尼尔；表现主义；艺术技巧
The Art Digging the World of Soul
——A comparative study between Cao Yu and O'neal's expressionist skills of plays
SUN Xiao_yan
(Art College of Inner Mongolia University, Hohhot 010010, Inner Mongolia)
Abstract:In the artistic expression, both Cao Yu and O'neal use a large number of export-oriented inner world and have a style of symbolism with distinct features of expressionist plays. Through the mask, monologue, narrator, audio segmentation algorithm, region innovation of the comedy show, they depict the inner world of characters, show the psychological conflict, reveal the fate of the characters. They are good at describing the conflict between the individual and the society in the heart of the characters to bypass the characters, reveal the external action hidden behind the real, namely psychological truth. O'neal and Cao Yu's massive symbolic image become the carrier of their tragedy consciousness of aesthetics with the poetic aesthetic value in their tragedy.
Key words: Cao Yu; O'neal; expressionism; artistic techniques