美学三题

人类审美个性与其普遍性文化功能是德国古典美学两主题 ,其间存在的逻辑矛盾与历史张力以及其审美个性研究的不够深入 ,都深刻地影响了 2 0世纪中国美学。以宗教为参照 ,可以深化审美个性研究 ,则审美是人类追求即时性感性精神愉悦的活动。审美感性是物质感性、具体感性和即时感性 ,这些决定了审美乃人类精神生活起点、大众文化之典型代表。审美是最世俗的人类精神活动 ,美学则是人类感性精神现象学 ,这当是当代美学基础理论研究的确当起点。在拓展人类精神世界的深度和广度上 ,审美较科学、宗教、哲学均远为逊色。     

民族生态审美叙事中的隐喻交合功能

民族生态审美叙事的关键是科技隐喻与民族生态隐喻交合互动 ,它在正义性原则指导下可保证民族生存与文化具有可持续生存指标 ,一种吸收变革而不丧失认同性活力的能指 ,从而使人与自然及民族间的交往灵活地进行。进而 ,在科技隐喻与民族生态隐喻等“多重隐喻”的功能交合辐射的过程中 ,人类超越自身而形成把握实在意义的方式与前景 ,最终形成对科技导致的生态危机与民族冲突的超越。     

“于正剧现象”研究

"于正剧现象"的特征是"叫座不叫好"。这种类型的电视剧违背艺术真实的美学原则,文本中充满大量的虚假情节、虚假人物、虚假环境、虚假道具。既不符合直观真实或超现实真实,又不符合主观真实,更难以达到客观真实的美学高度,是一种典型的高碳艺术。大力开发符合艺术真实,特别是实现客观真实的低碳艺术,这是中国电视剧艺术发展的正确方向。     

Listening to color: a set of propositions on pain as feminist aesthetic

This performative text asks whether it is possible to imagine an antisocial feminist aesthetic that does not invoke the wounded body. Its form – numbered propositions that engage with critical theory, literature, and memoir – riffs on that of Maggie Nelson’s Bluets, a key interlocutor for this question of aestheticizing embodied pain. How does Nelson’s genealogy of blue model a methodology for a “queer genealogy of femininity,” to borrow Jack Halberstam’s term? How does looking at color in this way offer an approach to narrating trauma, one that displaces the primacy of the visual? Turning to the work of Christina Crosby, Toni Morrison, Fred Moten, and José Esteban Muñoz, as well as drawing upon the author’s experience as a volunteer for a peer listening hotline, this essay considers the implications of “listening to color” for minoritarian knowledge formations and feminist praxis.     

The nonarrival of black freedom (c. 12.6.84)

This article seeks to mark the twentieth anniversary of the publication of Saidiya V. Hartman’s Scenes of Subjection: Terror, Slavery, and Self-Making in Nineteenth-Century America through a series of meditations on questions of time, embodied performance, the political concept of emancipation, and Oliver L. Jackson’s painting, Untitled 12.6.84, which graces the cover of this seminal work. This effort to recall Hartman’s argument regarding the nonevent of emancipation moves in the service of developing an understanding of the nonarrival of black freedom as a conceptual frame for addressing the recursive and untimely dimensions of black self-making. Ultimately, this article argues that Scenes of Subjection allows us to glimpse the making of worlds within the historical archive that fall outside of the normative horizons and expectations of political emancipation. Neither durable nor everlasting, neither verifiable nor guaranteed, such worlds take shape and dissolve within the mysterious rapport between the “could be” and the “not yet” and leave traces on the broken flesh of the black body.     

Body and experiment – reflecting Kawabata Yasunari's counter-aesthetics

Abstract

From his earliest works, Kawabata, known as an explicit aestheticist, deals in his works with flawed and disabled bodies in contrast to beautiful ones, evoking feelings of revulsion, awkwardness, disgust and premonitions of decay and death. The dynamism created out of these tensions and ruptures in the aestheticized world is scrutizined as hidden counter-aesthetics through questions such as: Which kinds of impairments are to be observed? Can they be classified according to grades? Are there gender specificities? How are these tensions and ruptures organized, and which categories (semantic, biological, political, moral) are concerned? Which narratorial and other functions are served through the counter-image of the flawed (impaired) body? And finally, how do the findings from these investigations into the flipside, the ‘Other’ of Kawabata's aesthetic universe, contribute to complementary or alternative ways of reading and understanding his literature? In a final section, Kawabata's treatment of female bodies as a site of experimenting with extreme situations of passivity and agency is highlighted, challenging more conventional readings of this and other works. The works discussed are from a deliberately broad chronological and generic range, including canonical and popular works. They range from the newspaper novels ‘Utsukushii!’ (1927) and ‘Maihime’ (1950/1), the novel ‘Senbazuru’ (1952) to the stories and palm-of-the-hand stories ‘Ningen no ashioto’ (1925),’Izu no odoriko’ (1926), ‘Mekura to shōjo’ (1928), ‘Utsukushiki haka’ (1929) ‘Hokuro no tegami’ (1940), ‘Sasabune’ (1950), and, in the final section, ‘Kataude’ (1963/4) and ‘Nemureru bijo’ (1960/1).     

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.     

The law and the sublime: Rethinking the self and its boundaries

Christine Battersby has argued that it is Kant (and not Descartes) who provides the paradigm model of what it is to be a self in modernity. The Kantian self is established in opposition to its other. The body is commonly envisaged as a container, with selfhood as something that is defended against the outside. In contrast, she proposes a feminist reworking of such a model of selfhood, applicable to both men and women, in which the self and other emerge over time through patterns of relationality. This paper introduces Battersby’s work by focusing upon her early analysis of Kantian aesthetics, in particular the sublime. The aim is to draw out some of the legal and political implications of her work, particularly with regard to the common law’s developing conception of privacy. This is carried out by distinguishing her ontological position from the psychology of Carol Gilligan and then by considering the overlapping concerns of Jennifer Nedelsky in the area of legal theory.

魏体行书化——蔡後庵《国魂诗选》粗识

《国魂诗选》是蔡後庵魏体行书化的代表之作，其书风格调高古，意态壮美，奔放激越。融汉魏之风与苏黄特长于一炉，是近百年以来甘肃书法界的代表人物。为书法界留下了极其宝贵的精神遗产。     

论公安教育的审美需要

公安教育的审美需要与思想政治教育同样重要,首先公安教育的目的是培养合格的人民警察。在治安形势严峻的今天,人民警察的审美需要也就是公安教育的重要内容;其次审美教育有助于人民警察深入的了解各种犯罪的内在生成因素;第三,审美教育对培养人民警察健全的人格有着不可或缺的重要作用。