审美体验与日常体验

审美体系与日常体验有密切联系，审美体验以日常体验为基础，并能对日本体验起补偿作用。审美体验与日常体验可以相互转化。日常体验转化为审美体验有两个条件：一是自我反思和保持角色距离，二是把要概念具体化，表象化。     

审美体验与宗教体验之比较

艺术与宗教是人类基本的两种文化形态,两者之间总是互相渗透.从审美体验心理学和宗教心理学角度,可以通过研究审美体验与宗教体验二者相通、相同之处,以及二者的差别,进而深入研讨艺术与宗教相互关系问题.     

试论儿童审美体验

美是事物自身具有的客观属性与人的主观能动性相结合的产物,审美是人的内在需要,审美体验不仅是对事物美也是对行为美的愉快感受,亦是审美主体对自我需要满足时的意义领悟.儿童具备审美体验的生理机能与心理基础,新奇点燃了儿童审美体验的火炬,趣味推进儿童审美体验的绽放.儿童审美体验在感知、情感、想象和理解的心理机能中展开并在准备、...     

论审美体验的个体心理发生

体验是主体与客体的中介,是使主客体相互沟通的一种媒介体。审美体验的唤起和深化离不开客体的激发,但也离不开主体内在的情绪和心境。审美体验可以由对象的形式所引起,还有赖于一定的主观条件,是在审美主客体相互感应中生发和展开的。     

论美育教学中的高峰体验

高峰体验既是审美的极致体验,也是美育的重要内容之一。在美育教学中,学习者的高峰体验需要多元呈现,既各有侧重,又形成系统。各有侧重是强调高峰体验过程中不同的审美聚焦点及效果：以审美关注唤醒高峰体验;以审美洞察力澄明高峰体验;以综合性整体承载高峰体验;以复杂性强化高峰体验;以形式与实质的统一完善高峰体验;以审美情趣导引高峰体验。形成系统是强调在高峰体验实现的过程中,不同的聚焦点形成一个链接性整体,彼此呼应和促进,系统性提升学习者高峰体验的层次与水平。     

触类旁通，不即不离——抒情性作品与审美体验

审美体验是美感的深化，与美感既有联系又有区别。触类旁通，不即不离是审美体验的重要特性，它还具有超实感性与类似性。对这种微妙的心理过程需要通过“亲证”加以体察，它可以意会而难以言传。在写作抒情性作品时只有借助审美体验才能准确表达内在的复杂感情，在抒情性作品的阅读鉴赏中，也只有通过审美体验“披入情”，才能体察作品情感发展变化的动态流程。传达审美体验是抒情性作品的重要表现手段。     

触类旁通,不即不离──抒情性作品与审美体验

审美体验是美感的深化,与美感既有联系又有区别。触类旁通,不即不离是审美体验的重要特性,它还具有超实感性与类似性。对这种微妙的心理过程需要通过“亲证”加以体察,它可以意会而难以言传。在写作抒情性作品时只有借助审美体验才能准确表达内在的复杂感情,在抒情性作品的阅读鉴赏中,也只有通过审美体验“披文入情”,才能体察作品情感发展变化的动态流程。传达审美体验是抒情性作品的重要表现手段。     

论审美体验的个体性与超个体性

审美体验具有个体性,具体表现在审美体验具有个体差异性。审美体验也具有超个体性的一面:首先表现在审美体验要求别人分享;其次表现在审美体验具有交流功能。审美体验是个体体验与群体体验的综合体。审美体验不是单纯的个人好恶,它接近普遍的价值领域。正因为审美体验具有超个体性,因此,艺术家在创作时需要超越自身之外。     

体验:生命的存在

体验是西方“感性史”的一个核心概念,体验概念的出现及其发展,是对西方理性主义的一次反击,对凸现西方感性历史的发展其有重要意义;体验和生命具有密切联系,体验是对生命的体验,把体验作为生存范畴来理解有利于进一步明确体验的本质：审美体验与艺术密不可分,研究审美体验对揭示艺术的本质其有重要意义。     

审美体验的效用

审美体验的效用是多方面、多层次的。审美体验是开放性的体验。效用和需要相互作用、相互影响。审美体验产生何种效用取决于人的精神需求。随着人的精神需要的增长和变更 ,审美体验的效用也会增长和变更。审美体验是人的生存和发展的需要 ,是人的解放和自由的需要 ,是人超越生命的需要。     

试论文学创作中的审美经验表达

审美经验既是美学研究的基本命题,也是艺术研究与评价的基本切入点。通过对文学现象的梳理分析及具体作品的再评价,阐述审美经验的独特性、主观性、活跃性,使理论研究对创作实践产生纠偏与激励作用,以形成艺术创作的宽松、自由环境,从而激发艺术家尽情抒发其独特而深刻的感受和认识,使我们的文学事业在新世纪更加健康地繁荣发展。     

Teaching and Learning Science for Transformative, Aesthetic Experience

Drawing from the Deweyan theory of experience (1934, 1938), the goal of teaching and learning for transformative, aesthetic experience is contrasted against teaching and learning from a cognitive, rational framework. A quasi-experimental design was used to investigate teaching and learning of fifth grade science from each perspective across an entire school year including three major units of instruction. Detailed comparisons of teaching are given and pre and post measures of interest in learning science, science identity affiliation, and efficacy beliefs are investigated. Tests of conceptual understanding before, after, and one month after instruction reveal teaching for transformative, aesthetic experience fosters more, and more enduring, learning of science concepts. Investigations of transfer also suggest students learning for transformative, aesthetic experiences learn to see the world differently and find more interest and excitement in the world outside of school.     

从道德体验教育的原则看道德体验教育

在分析道德体验特征的基础上,提出了道德体验教育要注重引发和增强学生对道德生活的直接感受的直接感受性原则;注重引发学生在知、情、行等方面整体性互动的整体性原则;给学生一个充分体验过程的过程性原则;充分尊重学生在道德体验中自我支配、自我调节和控制权利的自主性原则,并且进一步分析了贯彻这些原则的具体做法。     

The Roles of Aesthetic Experience in Elementary School Science

The role of aesthetic experiences for learning was examined in elementary school science. Numerous authors have argued for a science education also involving aesthetic experiences, but few have examined what this means empirically. Recordings of children’s talk with each other and with the teacher during hands-on activities in nine different science units were made. How the children and teachers used aesthetic judgements and how these judgements were part of aesthetic experiences of the science assignments were analysed. For the analysis a pragmatist perspective was used, especially drawing on Dewey and the later Wittgenstein. The results showed how aesthetic judgements occurred in moments of anticipation and moments when the science activities were brought to fulfilment. In this way children used aesthetic judgements normatively about what belonged in science class and what to include and exclude. In this way aesthetic judgements were an important part of learning how to proceed in science class. In using aesthetic judgements the children also talked about their own place in science class and whether they belonged there or not. In this way aesthetic experience is tightly related to learning science as participation. Learning science also meant learning a special kind of aesthetics, that is, learning how to distinguish the science context from other contexts. The fact that children liked or disliked something outside school did not necessarily mean that it was experienced aesthetically in the same way in school, but needed to be re-learnt. What these results mean for science education is discussed at length. The connection between aesthetics and learning to observe is also briefly discussed.

"诗中有画"、"画中有诗"与审美体验

“诗中有画”是指通过语言在审美想象的作用下把头脑中的表象组合起来，形成一幅栩栩如生的画面，“画中有诗”则是指通过线条、色彩的视觉刺激，产生诗一般的审美体验，二者通过意境相互沟通。     

企业实施体验营销的策略建议

通过对体验营销基本理论的分析,针对企业如何实施体验营销,提出了如下几点策略建议:首先,应注重培养企业的体验文化,塑造体验营销理念;其次,提供贴心、真诚的优质服务;再次,在体验营销过程中,不断创新设计体验;最后,建立完善的体验式营销体系。     

《自然辩证法概论》教学体会

《自然辩证法概论》的教学,应该切实落实思想政治教育功能和综合素质教育功能,贯彻科学发展观这一指导灵魂,以国家教委颁布的最新教学大纲为支撑骨架,引进最新科技内容、科技现象以鲜活血肉,确保教学内容有政治而非纯政治、有哲学而非纯哲学、有理论而非纯理论、有案例而非纯案例。     

Science, Art, and Experience: Constructing a Science Pedagogy From Dewey’s Aesthetics

Drawing on the work of Dewey, we present a view of science education from the perspective of art and aesthetics. This perspective places a transformative, aesthetic experience at the forefront of educational objectives. Such experience involves the application of learning in everyday contexts, expansion of perception, and development of an increased interest in science ideas and aspects of the world illuminated by those ideas. We present a pedagogical model focused on fostering transformative, aesthetic experiences. This model involves two general categories of instructional methods: (a) methods of crafting ideas out of concepts, and (b) methods of modeling and scaffolding transformative, aesthetic experiences. We discuss how the methods comprising this pedagogical model relate to established science education methods.     

Cinema and Choric Connection: Lost in Translation as Sensual Experience

The rise of the new information technologies, and corresponding proliferation of signs, images, and information, has contributed to a growing sense of alienation and dislocation. For many, the contemporary moment is an unending and disorienting sea of sensory-symbolic excesses. Lost in Translation is a film addressed to these anxieties. Engaging the film as a sensual experience, we argue that Lost in Translation equips viewers to confront the feelings of alienation and dislocation brought on by the sensory-symbolic excesses of (post)modernity by fostering a sense of choric connection. This sense, we demonstrate, is elicited primarily by the film's material (nonsymbolic, aesthetic) dimensions. Drawing on an analysis of the film's aesthetic elements, we conclude by reflecting on the implications for film studies, rhetorical studies, and everyday life.     

试论郁达夫小说体验世界的方式及其隐晦的家国意识

郁达夫小说所体现出来的颓废倾向及作品中关于性的描写历来成为评价其文学创作的重要维度,他的隐逸气质也成为人们指责其逃避现实的主要依据。然而,性的描写与颓废倾向是郁迭夫作品体验世界的独特方式,而其作品中家国意识则是一个无可争议的存在。郁达夫的小说创作具有鲜明的时代感和美学意义。