传统美育与当代美学建设

中国古代有悠久的审美教育传统,它从礼乐文化派生而来,体现出深厚的人文精神传统.中西方美育传统之一致在于对人的综合素质之培养.如果没有人文关怀,当代美学与传统美学之间的精神纽带就会断裂.当今中国美学出现的低迷状况,主要由人文精神迷失所致,美学未能从工具论的价值观中走出来,当代美学建设应积极借鉴我国传统美育思想资源.     

浅谈影视艺术作品所呈现的教育特点

电视作为一种传播媒体,它以其自有的教育特点对青年人的成长有着深刻的影响,对道德观念、审美情趣、处世哲学、社会责任感的形成不同程度的起到了推动作用。它以其鲜活直观的影像倡导了一种思想和精神,以特有的艺术品位来吸引人、感染人,是一种有效的艺术教育手段。这种教育呈现出全社会性、开放性、非强制性的特点,并赋予人新的社会化程度观念,但也有其负面影响,对于个体接受可能导致的社会犯罪与文艺欣赏负面教育之间的联系,单单采取回避不妥。     

"片云头上黑,应是雨催诗"——论自然气象兴感与诗歌审美意境营造

包括风、雨、霜、雪等在内的自然气象是中国古代诗歌中的常见题材,在长期的创作实践中,自然气象与诗人之间建立起了一种较稳固的互动关系。一方面自然气象在审美愉悦、社会心理等方面对诗人的创作动机产生着直接的激励作用,这种作用是随着人们对自然气象审美功能的认识和诗歌创作的不断发展而显现的,从魏晋南北朝时期物感说中的混沌一体,到唐宋时期兴感说中的条分缕析,可洞悉这种作用的历史发展轨迹;另一方面,诗人在诗歌创作中,主动运用自然气象的意境营造功能,形成了不少凝结历史传统和民族心理的审美意境,如对床夜雨、寒夜听雨等。     

运用儒家美学思想提升大学生的审美修养

审美修养由审美观念、审美趣味、审美判断力等构成。审美修养是人文修养的重要内容,加强审美修养是提高大学生人文修养的一个重要方面。儒家美学思想是以孔子、孟子、荀子为代表,以"仁"为核心的一种美学思想。运用儒家美学思想提升大学生审美修养就是要增强大学生的审美意识,完善大学生的审美心理,提升大学生的审美判断力和创造力。     

从翻译美学的角度论小说翻译中人物语言的审美再现

小说是通过塑造典型人物形象来反映现实生活的一种文学体裁。人物形象丰满与否,直接取决于人物个性化的语言。能否准确传译人物语言便成了小说翻译的关键。翻译过程中,译者应本着审美等值的原则努力再现小说中人物语言的审美价值。     

寻求传统与当下、理论与现实的对接——论周来祥的审美文化研究

20世纪90年代以来的审美文化研究一直存在两种突出的倾向:一种是关注当下生活,对文化现实进行批判,却疏于理论建构与历史传承;另一种是严格从审美视角出发,探讨具有审美性质的文化层面,却超然于人们的现实境遇。有鉴于此,周来祥的审美文化研究显出特别的意义:他的审美文化研究既讲求理论的自洽性,又具有强烈的现实关怀,在对传统审美文化的梳理与当代文化的描述中亦能显示出内在的关联。这种寻求传统与当下、理论与现实对接的努力,为充满断裂的审美文化研究提供了一个可资借鉴的样本。     

The aesthetic public sphere and the transformation of criticism

This article argues that criticism is fundamental for understanding how culture and politics shape the ambiguous self-interpretation of society. An initial exploration of Habermas's theory of the public sphere reveals that it is inadequately cultural. An alternative is thus offered by discussing the work of Jacobs, and especially his concept of an “aesthetic public sphere”. His insight that nothing is too trivial when it comes to broadening the limits of the public sphere prompts scholars to take into consideration the positive as well as negative aspects of criticism. As a cultural mediation, criticism is shaped by a struggle for recognition that gives rise to the interpretation of its own crisis. The purpose of the article, however, is to propose a more balance account of such predicament. By discussing online criticism, the rise of the “prosumer” and user-generated content, it is argued that there is now a new battle for authority and legitimacy undergoing. This creates the potential for the democratization of criticism, even though this potential has great chance to remain within an inescapable democratic tension.     

The Writing Lesson: Imaginary Inscriptions in Cultural Encounters

Abstract

This article takes a moment of intercultural exchange, first reported as "The Writing Lesson" by Claude Lévi-Strauss in Tristes Tropiques and later explored by Jacques Derrida in Of Grammatology, as the occasion for further reflection on the role played by the aesthetic in what it terms intercultural transference. Transference occurs whenever unconscious desires, fantasies or patterns of being and relating are enacted in an interpersonal or intercultural encounter, including the indirect encounters between literary or artistic objects and their recipients. It emerges as a largely unconscious operation designed to bridge, close, fill or deny the inevitable gaps in knowing another person or another culture, and to manage the affects such gaps bring forth. Intercultural transference provides a framework to read "The Writing Lesson" differently and suggests a theoretical model able to account for the complex performances of intercultural transference that enter any exchange or translation between cultures.     

Aesthetic Negativity and Aisthetic Traits

Abstract

This article concerns the notion of aesthetic negativity, and related ideas regarding the autonomy of art. After giving some initial definitions and a brief historical sketch of these concepts, we will examine the definition proposed by arguably the greatest thinker of aesthetic negativity, Theodor Adorno, and its recent semiotic reconstruction in the work of Christoph Menke. This reconstruction configures aesthetic negativity and autonomy jointly as the capacity of artworks, and the experiences that they occasion; to processurally negate “automatic” modes of understanding. This account is then critiqued, and contrasted with views on aesthetic experience that stress its nonconceptual and asemiotic aspects, and the close affinity of this modality of experience with perceptual presence and affective intensity, with a clear reference to the phenomenological tradition. Some recent ideas about how semiotic and phenomenological theories regarding art can interact are then cited, and an undertheorized aspect of their connection introduced, which is the main original import of the article. This connection, which is furnished by the concept of aisthetic trait, is derived from psychoanalytic metapsychology, and is an example of how the meaning and presence effects of art can act not just in a competing synchronic fashion, but can morph into each other over time. A trait is a signifier-like perceptual remnant of a prior subjective experience of high intensity that provides a kind of ratification of the experience that endures within the life history of an individual. This is then shown to have relevance to the previous topics of aesthetic negativity and autonomy in terms of the way that the trait mechanism may bring to light important diachronic aspects of aesthetic experience that are currently absent in other accounts in the literature.     

论科技管理中的审美智慧

由于政治权力的把控,现代科技管理日益异化和疏离人性。而提升科技管理水平的途径之一就是从审美智慧入手,培养管理者的审美素质,拓宽其审美境界,克服管理中的审美缺失;使其关注科技美学、管理艺术;实施"寓管于乐"的审美理念。把审美之花看做智慧与身心的合体,让其自然绽放,以消除科技管理的异化,将科技人员变成真正的审美主体和人的自由对象、欲望对象和审美对象。让科学家拥有更多的实践、精力、热情和冲动去自由地感受美、发现美、雕琢美、维护美和创造美,将美的理念变成感性的显现,将美的精神和意识外化为美的现实;将主观美推进到客观美,最终创造出辉煌伟大的科技成果和科技作品。