如何理解革命“样板戏”的现代性内涵——兼与宋剑华、张冀先生商榷

宋剑华和张冀充分强调"样板戏""在其纯艺术追求方面"对于中国传统戏剧艺术形式的变革具有极大推动意义,而且"作为中国文学审美现代性的主观倾向"不能随意加以否定。黄云霞以政治理念对"英雄"塑造的影响为例证对戴锦华等提出的"样板戏"的现代性质素进行了质疑。在对上述观点进行清理的前提下,论文指出可以从工具理性、政治理性的角度来讨论本土化的中国现代性,应该看到中国文艺的现代性及其革命的辩证法。     

唐代服饰美学

唐代服饰美学体现了社会风气与服饰变化的互动互摄现象.在唐代服饰美学中有着很深的社会思潮痕印.唐代服饰富于多彩多姿的美感特征,造型别致,甚至有男性化倾向.唐代服饰受到中西文化交流的影响,然而,由于唐代审美思潮变化更迭的特点,所谓"胡服"在盛唐以后就不再盛行了.     

论法律的审美价值

一般地,法的价值被认为包括自由、秩序、正义、效率、安全、平等、人权、以及人的自由发展等。但随着人们对法律认识的深入和视野的拓展,我们认为法的价值除了上述价值外还有一种重要的价值,即：审美价值。审美价值是社会主体对美的普遍追求倾向在法律中的体现。审美价值根源于人的本性需要。研究法律的审美价值对立法、执法、司法以及法律本身的完善都有重要的意义。     

大学语文教学中的审美教育

在语文教学中进行审美教育是由大学语文的学科性质及其本身所具有的审美价值决定的。我们要想在大学语文的教学过程中有效贯穿审美教育,就必须采取行之有效的措施：一要创设审美情境,激活审美心理;二要激活审美情感,引导学生体验美。     

倦怠社会劳动美的精神政治学审视

韩炳哲将过度化生产、超负荷劳作和数字信息大爆炸所造成的个体疲乏与困倦的当代社会称为“倦怠社会”。倦怠社会是一个功绩社会、积极社会而非懒惰社会、消极社会,工作积极主义成为个人的精神政治学,自我加速和自我施暴成为倦怠社会成功的关键。在倦怠社会,自我精神暴力疾病日益突出,积极消费、娱乐主义成为化解倦怠的至上之选。然而,倦怠社会的劳动美学却表现出三种困境：作为整体存在论的劳动美学与作为个体生存论的劳动倦怠之困,作为技术决定论的劳动美学与作为自我生成论的劳动观念之困,神圣时间下的倦怠社会的时间辩证法之困。只有通过树立马克思主义的生活观和劳动观,弱化自我加速和功绩主体的定位,防止数字劳动的畸形,主动建构抵消数字资本、技术平台牵制的生活模式,回归美好生活的实质,才能构建劳动美和生活美。     

Retracing the contours of her figure … slippages begin to appear: Reckoning the limits of the archive with Senam Okudzeto’s Large Reclining Nude

Large Reclining Nude (2004) by transnational artist and scholar Senam Okudzeto is an 86-inch by 63-inch acrylic drawing of a nude, black female body released into a bare milieu. At first glance, the figure is grounded as shadows cast across her body hint at the presence of a foundation. However, outside the bounds of the body, Okudzeto resists three-dimensional perspective, calling into question the necessity of mediational signifiers for the orientation of the figure. How are we to read this solitary body after Scenes of Subjection, after Saidiya Hartman recontextualizes black corporeality as social relationality, throwing the “autonomous individual?…?into crisis?” For this article, the author reads the lone, floating body of Okudzeto’s 2004 Large Reclining Nude for new openings into Hartman’s archival reckoning in Scenes of Subjection. She offers a meditation on the aesthetic techniques evident through the visual aporia of the drawing – irresolvable contradictions in the field of the visible – suggesting Okudzeto offers alternative reading practices that afford reengagement with Hartman’s work.     

中国公民审美价值观与闲暇价值观比较分析

本项研究对中国大陆31个省市不同社会群体(共计32504人)的审美价值观和闲暇价值观的数据进行了统计分析,结果表明:(1)公民的审美价值观在整体上存在一致性,但在审美情趣和审美理想方面的部分项目上存在显著差异。(2)公民的闲暇价值观存在一致性,在闲暇时都比较注重自身素质、能力的提高,但有一定比例的公民有赌钱、喝酒行令的不良习惯。(3)公民的审美价值观和闲暇价值观间存在显著相关性,闲暇价值观是审美价值观的真实反映,也是人生价值观的真实写照。     

"那"文化神话景观与大地伦理的建构

“那”文化中的神话,依照其生长于其上生产方式所赋予意义,它能够表现出壮族等民族的空间展演与时间隐喻的交汇特质,形成了科技理解与生态选择相统一的大地伦理模式,为后现代社会解决生态危机提供了较为现实而又不乏形上指向的文化参考语境。     

Aesthetic Vertigo and the Jurisprudence of Disgust

This article engages with the intersection of law, legitimation and aesthetics by examining the controversies surrounding the exhibition in 1997 of two artworks: Piss Christ by Andres Serrano, andMyra by Marcus Harvey. The article is less concerned with issues such as freedom of expression or the rights of display, which by now are well-known in debates on censorship and the arts; rather, its focus is on the consequences for an artwork's exhibition when it is deemed to be `disgusting'. The judgment of the two selected artworks as disgusting is traced in public discourse, through newspaper reports, public protest, and in socio-legal responses to the artwork such as a civil suit for possible obscenity, in decency or blasphemy. The argument suggests that the jurisprudence of disgust in its response to a sensation of ‘aesthetic vertigo’ can provide a key means of understanding aesthetic controversies, and their legal regulation. This revised version was published online in July 2006 with corrections to the Cover Date.     

忧郁的诗魂--戴望舒诗歌的美学特征

戴望舒诗歌中的忧郁具有浓厚的形而上色彩.其忧郁表现为以下三个方面不可捉摸性、普遍性和深沉性,它们共同组成了戴望舒诗歌艺术的美学特征.