影视艺术教育建构大学生审美价值观的路径

读图时代的到来使大学生审美价值观受到了以娱乐化、世俗化、庸俗化为代表的泛审美观念的影响。影视艺术教育作为审美教育的一部分,以其特有的形式在构建当代大学生审美价值观的过程中发挥了主力军作用。建构大学生审美价值观的路径:一是筑结构,转思维;二是安好探照灯,做好守门人;三是两个相关教育齐手抓。     

浅析审美时尚中负面因素对大学生的影响

近年来,审美时尚发生了许多新的变化,这些变化中的负面因素给大学生带来了一定的影响。具体表现为：审美追求的娱乐化导致大学生审美品位的单调,审美判断盲目化导致大学生审美意义的缺失,审美个性表面化导致大学生个性的失落,审美趣味世俗化导致大学生理想的虚无,审美认知具象化导致大学生满足于感官的享乐等等。     

济南城市特色的美学创造

济南有着悠久的历史和灿烂的文化,她不仅是文明古城,还是百年商埠.她有着独特的泉水还有着别具风格的古建筑.从对国内外著名城市规划、保护的实例的分析中可以发现,济南应打造自己的城市特色,创造济南特有的城市美.     

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。     

当代视觉文化价值的多元化趋向

视觉文化价值观念的多元趋向,在世界范围内打破了单一的西方审美模式和观念。各种视觉文化均有自己独特的价值取向,它们在一定的时期和阶段是可以兼容的,也是能够独立生存的。