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。     

Noucentisme's “arbitrary” nature in the Mont-roig landscapes of Joan Miró (1918–1922)

The purpose of this article is to discuss the development of Joan Miró's aesthetics between 1915 and the early 1920s, and to offer an interpretation of a series of landscapes that he painted between 1918 and 1922, by highlighting their similarities with some of the landscapes described by Catalan writer Josep Pla in his Obra completa. Both Miró's and Pla's landscapes are situated within the context of Noucentisme and, more particularly, of Noucentisme's classicist aesthetics as defined by Eugeni d'Ors in his Glosari.     

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。     

中国当代美学与文论的原创研究笔谈(专题研究)

虽然原创研究应该是以创造当代中国原理、概念、范畴为目标,但就原创是一个古代和中国现代文论很少涉及的话题以及将原创的努力作为一个积累而逐步深化的过程而言,以下八位学者从不同的视角为理论原创问题的研究贡献了彼此独立而又相关联的思考：袁济喜、姚文放分别就原创的中国传统文化资源做了挖掘;刘顺利、韩德民通过姚永朴、宗白华对中国现代文论和美学的资源做了新的阐发;张锡坤则致力于中西方文论的打通;张伟 则致力于美学原创的综合方法的思考;何平就原创如何应对当下的文学批评问题发表了看法;张震则就文学性问题初步展开了个人化的理解与建构。     

新时代劳动美的形象思维审视

劳动美作为新时代的社会风尚,是人在劳动过程中审美关系的现实表现,其本质是建立在劳动实践基础上的情感体验。在形象思维的审视下,劳动美的本质展现出了现实的具体形象、美好生活的形象、鲜活的人性形象,并且有着形象性、情理交融性、超越性的特征。生成劳动美的过程不是理论的推演和逻辑的论证,而是需要结合人当下的体验,把劳动熔铸于人的生存形象、生命形象和生活形象。新时代培育劳动美不能局限于知识论的求知域界,而应上升到本体论层面的生命情感体验。因此,培育劳动美不仅需要典型形象的塑造和生动形象的叙事,还需要将叙事和说理有机结合,这样才能既有情感共鸣又能理性分析,实现情理贯通。     

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。     

Mythical enjambment in The Hungry Woman: nation,desire, and Cherríe Moraga’s utopic turn

In her play The Hungry Woman: A Mexican Medea (2001), Cherríe Moraga makes use of a technique I call “mythical enjambment”: the insertion of a myth, story, or cultural context into another where it “doesn’t belong,” a willful act of making the unexpected out of the expected. Moraga utilizes mythical enjambment to illuminate how mythologies become entrenched and perpetuate harmful ideologies. Interrupting the traditional aesthetics of Western theater by drawing attention to the ways queer women of color are erased from the narrative, Moraga also challenges the absence of queer women of color from the Chicano movement by embedding her play within some of the most dearly held myths of Chicana/o culture. Ultimately, the use of mythical enjambment gestures toward the utopic and revolutionary potential of theater. The Hungry Woman shatters myths on multiple, intersectional levels: from the critical gaze of interpretive authority to the myths that cohere Chicana/o identity along masculinist and heterosexist lines.