布依族情歌语言的审美特与布依族人的审美意识

布依族情歌在语言运用上素朴俗白，清浅自然。透过口语化的语言，我们能发现其审美特征的三个层面。直白泼辣的意趣美、素朴粉饰的情趣美、俏皮机敏的谐趣美。通过美的三个层面，不仅让人感受到布依族情歌语言清新的艺术魅力，同时也体味到布依族崇尚“朴质真纯，自然高妙”的审美价值观念。     

王尔德与纳博科夫的审美性伦理观比较

近年来,随着对后现代主义颠覆性的讨论的深入,审美与伦理观的关系正逐渐成为研究者们关注的热点。王尔德与纳博科夫作为将现代伦理生活审美化的典型作家,他们的创作时期前后相接,大约跨越了整个现代主义文学时代,反映了现代审美性伦理观的产生与发展,也透露出伦理生活审美化的困境与突围。     

近年中国影视艺术述评

影视艺术作为一种集众多艺术门类于一身的特殊的文化传播媒介，伴随着当今社会科学技术的进步，呈现出前所未有的蓬勃发展的态势，社会的发展和外来文化的融入，都使当下影视艺术的审美情趣呈现多元化发展态势。在这种环境下，对影视艺术从创作到传播等各个环节中出现的问题应该持有怎样的态度以及如何给受众以合理的引导已成为全社会共同关注的重要问题。     

The Aesthetic Account of Everyday Life in Organizations: A Report on Recent Developments in Organizational Research

This article examines recent advances in organizational studies that disputed the dominance of conventional-positivist paradigms by addressing everyday life in organizations through the lens of aesthetic principles. First, I discuss developments in theory and methods, focusing on the “strong” version of Organizational Aesthetics that defends new conceptions about the nature of organizations and experiences of organizational life. Then, I illustrate this new account using two relevant studies. My research finds that the aesthetic account of organizations provides concepts and modes of analysis able to better respond to current conceptual and practical challenges both in organizational research and arts management.     

以美引善以美启真以美怡情——试论美术教育对青少年身心发展的作用

美术教育是实施美育的重要途径,审美意识的强弱和审美水平的高低,决定于美育(包括美术教育)在青少年教育中的地位与实施水平。当前通俗文化艺术层的思潮每时每刻都在影响着青少年对于美的理解,使他们在成长的过程中丧失对真善美的认识,甚至出现道德和人性方面的种种异化现象。美术教育是青少年素质教育中一个有效的手段和不可或缺的方面,通过美术教育可以使青少年提高或者提升其审美水平、道德水准、文化内涵、动手动脑的能力、爱国情感、社会责任感,促进青少年的全面发展,促进社会的和谐发展。     

图腾崇拜对人类审美心理的培育

从审美心理发生学的角度看,笔者不太同意文化起源与人类起源同步、原始文化起源与人类审美意识(审美理性心理)发生同步的观点。而是认为人类起源在前,文化起源在后,人类的审美心理发生在前,原始文化起源在后。笔者的结论是:原始人类的审美心理潜伏于高等动物(人猿)的种族遗传,发端于原始人类时空观念的形成和对自然形式美的感受体验,表显于第一件艺术品(石器)的创制,发展于图腾崇拜、宗教巫术、神话传说、文学艺术。     

浅析唐诗中的“水月”意象

月是唐诗中出现次数最多的意象之一,特别是其中的“水月”意象——由于其中“水”、“月”相得彰益的视觉特点迎合了我国古代文学推崇的阴柔、含蓄的审美观,形成了“水月”意象的基础原因。因此,在唐诗中诗人常常借助“水月”这一复合意象抒发复杂的情感。     

The Classical Trinity and Kant's Aesthetic Formalism

Abstract

I identify two mutually exclusive notions of formalism in Kant's Critique of Aesthetic Judgement: a thin concept of aesthetic formalism and a thick concept of aesthetic formalism. Arguably there is textual support for both concepts in Kant's third critique. I offer interpretations of three key elements in the Critique of Aesthetic Judgement which support a thick formalism. The three key elements are: Harmony of the Faculties, Aesthetic Ideas and Sensus Communis. I interpret these concepts in relation to the conditions for theoretical Reason, the conditions for moral motivation and the conditions for intersubjectivity, respectively. I conclude that there is no support for a thin concept of aesthetic formalism when the key elements of Kant's Critique of Aesthetic Judgement are understood in the context of his broader critical aims.