“于正剧现象”研究

"于正剧现象"的特征是"叫座不叫好"。这种类型的电视剧违背艺术真实的美学原则,文本中充满大量的虚假情节、虚假人物、虚假环境、虚假道具。既不符合直观真实或超现实真实,又不符合主观真实,更难以达到客观真实的美学高度,是一种典型的高碳艺术。大力开发符合艺术真实,特别是实现客观真实的低碳艺术,这是中国电视剧艺术发展的正确方向。     

魏体行书化——蔡後庵《国魂诗选》粗识

《国魂诗选》是蔡後庵魏体行书化的代表之作，其书风格调高古，意态壮美，奔放激越。融汉魏之风与苏黄特长于一炉，是近百年以来甘肃书法界的代表人物。为书法界留下了极其宝贵的精神遗产。     

从方法论角度看中国美学的研究现状

从方法论的角度看,中国美学从建国到现在正沿着一条肯定———否定———否定之否定的辩证道路前行。其间,我们的美学研究接受着来自各方的影响,既表现了自己的特色,也暴露出了一些问题。我们应在立足马克思主义美学的基础上,融汇东西,建立具有中国特色的美学。     

Beautiful Day: Awakening to Responsibility

Recently published works, such Elaine Scarry's On Beauty and Being Just, have suggested the natural confederacy of the sensory appreciation of beauty and the achievement of social justice. Scarry (amongst others) has proposed that the opiated moment in which one is arrested by beauty's spell results in a ‘radical decentrification’, where under they who behold beauty are awakened to alterity and, consequentially, encouraged to realize an ethical agenda based upon just (sic) relations between people. The present article refutes the adequacy of the beauty - ethics - justice triptych and, instead, proposes that the entire variegated aesthetic quantum operates as the medium through which recognition of (in)justice reminds us of our responsibility to the other. As essentially inarticulate concepts, justice and responsibility are capable of ‘speaking’ to us through the channel of the aesthetic. The aesthetic is the plane of dialogue on which our felt appreciation of (in)justice prompts us to responsibility. This revised version was published online in July 2006 with corrections to the Cover Date.     

艺术习俗:一种界定艺术的理论框架--论迪基的艺术习俗论

试图调和传统美学与分析美学的矛盾,调和艺术习俗与现代艺术的矛盾,来为艺术寻找一个基本底线,是迪基艺术习俗论的主要意图。重实证描述,轻人文探究,使迪基艺术习俗论显得矛盾重重。     

藏传佛教"羌姆"面具艺术探秘

文章对藏传佛教"羌姆"跳神面具的缘起、发展源流、种类型制、表现的内容与象征内涵、审美寄托、艺术特色、制作的形式美等作了较全面的探讨.     

Countervisions of Modernity: David Roberts,The Total Work of Art in European Modernism

David Roberts's The Total Work of Art in European Modernism extends and deepens the analysis of the counter-paradigm of redemptively inspired art to modernism's own pre-occupation with secularization. It addresses the imbalance in social and critical theory whereby progressive secular rationalization has been elevated to the sole logic of modernity, and the romantic redemptive tradition has been reduced to a marginal counter-enlightenment. The total work of art paradigm allows Roberts to demonstrate how the programme of modernity has been constituted by internal tensions and antinomies from the very beginning.     

China’s Phantom Urbanisation and the Pathology of Ghost Cities

This article examines the production of China’s “ghost cities” and constant urban expansion to challenge the dominant conceptual narrative of rural-to-urban migration as the driver of urbanisation. It argues that behind China’s “miraculous” urbanisation story is a powerful ideological commitment to urban growth as the “royal road” to modernity and assessment of political performance. Local governments have a wide-ranging “tool-kit” for pursuing urbanisation, ranging from administrative border-drawing to expropriation of rural land and investment in expanding urban infrastructures. Urbanisation is the destination to which all paths seem to lead. Indeed, local states pursue the construction of new urban space, even when doing so harms them financially. But why? The concept of phantom urbanisation names the process whereby constructing the aesthetic form of the urban is even more important to local state actors than economic, demographic or environmental repercussions.     

The Legality of the Image

Intimate links exist between political power, law and images. Theology, philosophy and law have always developed elaborate rules about visuality. The iconophilic and iconoclastic traditions complemented one another and combined to construct subjectivity and to reconcile humanity with finitude. In modernity, law replaced religion and philosophy conceptualised legality through the aesthetic category of the sublime. The law understands the importance of the governance of images for the maintenance of the social bond and helps organise a regime of permitted images and forbidden idols which amounts to a complex legal administration of aesthetics and a related aesthetic organisation of law.     

反对主客二分：从现象学美学到实践存在论美学

朱立元先生作为实践论美学的代表人物，提出了“实践存在论美学”的理论体系。本文的目的，是通过分析现象学美学对主客范畴的理解，就“实践存在论美学”应该如何看待主客二分对立的思维模式以及如何寻找到真正的理论问题展开探讨。