关于美学教学与实践方式的若干思考

美学课的教学过程,应注重充分调动学生作为审美主体参与各种审美活动的主动性,系统引导学生获得丰富的美感体验。通过探索多种有效的教学与实践方式,来改变传统美学教学的刻板抽象模式,使学生在尽情享受审美愉悦之同时,能获得比抽象说教更深刻的感悟,从而在潜移默化中不断提升审视美的境界。     

重读上海都市“新感觉”：从技术地理学到技术感性学的视角

技术的更迭不断地改造着人类社会的空间形态,也重构着在空间中生存之人的生命体验和审美感知。现代都市作为技术性空间,构成了上海新感觉派的感知环境,也是其重要的表征对象。上海都市现代性首先表现为一种传播和移植的“技术现代性”,是西方现代军事、运输和通信等技术的直接地理后果;而其在地生产,包括了都市空间的营造和城/乡空间关系的重构。新感觉派作家对现代技术事物的感觉之“新”,是在作为技术性空间的都市中,与“技术”效应之间产生的剧烈感应与共鸣。新感觉派技法的电影化,则是一种感性表征的现代技术媒介机制。从“技术地理学”到“技术感性学”的交汇视域来重读新感觉派,彰显了现代都市中“人/技术/空间”的辩证关系,在当代语境中具有普遍的参照意义。     

意识美学与身体美学的对立之消解

早期现代美学是"意识美学",它高扬精神性,排除了身体性,从而为精英文化和高雅艺术的独尊地位提供了论证。后期现代美学在后现代主义背景下转向"身体美学",它肯定意识与身体的同一,同时也偏重于身体性,从而为大众文化和通俗艺术跃居主流提供了理论依据。意识美学与身体美学各有其合理性和局限性。应该超越意识美学与身体美学的对立,既承认审美的精神主导性,也承认审美的身体性,从而成为身心一体的现代美学。     

英伽登：艺术作品的结构和质素研究

英伽登的美学理论对世界现代文艺美学思想影响深远。他对文学作品结构的层次划分和动态分析富于创见 ,对具体的文艺创作实践具有较强的解释力。     

The arc and the zip: Deleuze and lyotard on art

Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it.     

Debating Latin American Aesthetic Theory. Beatriz Sarlo on the Autonomy of Art

For quite some time, Beatriz Sarlo has been at the forefront of the debate over the possibility of ascertaining the aesthetic value of art. The Argentine critic's dismissal of value‐neutral approaches to art has been often criticised as a repackaging of the aestheticist tradition inherited from the European Enlightenment. Using Sarlo's own critical practice – a selection of Sarlo's key texts on Argentine literature written since 1980 – as a testing ground for her theoretical insights I argue in favour of re‐evaluating Sarlo's project as an aporetic discourse with positive implications for cultural politics that should be refined rather than abandoned.     

"美学大讨论"时期朱光潜美学略论

新中国初期,朱光潜先生身处逆境而仍能在美学上大有作为.他积极参与了以批判自己的学术观点为开端的美学大讨论.在此过程中,他却能反客为主,提出了一系列带有普遍性的重大理论问题,最后卓然成一家言,既自我树立,又推动了当时整个美学理论界的思考,创造了当时美学界的奇迹.     

美学研究的人文——本体论倾向评价

20世纪美学理论研究在中国经历了一个以政为本向以人为本的旨趣转向过程，其间的一个不可回避的重要问题，就是如何摆脱传统工具论和本质论的封闭视野，向人文精神和独立的本体论回归，进而找到美学理论建构的基本立足点近年来出现的人文一本体论倾向，将在21世纪美学理论研究中愈来愈显示出强大生命力。     

Introduction to Performing Refusal/Refusing to Perform

This introduction outlines an aesthetic of refusal as it emerges from instances of racialized exhaustion. Described as an aesthetics of minoritarian inaction and non-reproductivity, refusal challenges the centrality of action and repetition as the central tenets of political performance. Instead, the two valences of performing refusal/refusing to perform name an ethics of relation under racial capitalism, negating the dialectic of assimilation or resistance that shape minoritarian political performance, in favor of tactics such as opacity, imperceptibility, and obscurity.