实践转向与艺术批评

当代美学发展正面临着新的实践转向.这种实践转向应该关注大众的审美欣赏活动,引导审美欣赏活动的健康展开;这种实践转向尤其要关注文艺批评,发挥文艺批评的价值导向作用.     

文艺批评的职能与文艺批评的标准

在毛泽东同志的文艺思想中,关于文艺批评问题,是一个很重要的组成部分。毛泽东同志历来重视文艺批评问题,把它看作文艺界思想斗争的主要方法之一;一再强调要发展文艺批评,而且指出“文艺批评是一个复杂的问题,需要许多专门的研究”。与此相联系,他发表的《在延安文艺座谈会上的讲话》中郑重地提出了文艺批评的标准,这就是大家所熟悉的政治标准和艺术标准。关于两个批评标准的关系,他认为:“政治并不等于艺术,一般     

文艺批评的传播功能

本文从传播学的角度研究文艺批评的功能.文艺批评在本质上也是一-种传播活动,它通过对文艺作品的批评,向欣赏者传播文艺信息.文艺批评的传播功能主要表现在两方面释义与评价.前者指批评家探求与挖掘文艺作品意义的功能.文艺作品的意义潜藏在艺术语言或隐或显的表现与传达之中.后者指批评家对作品审美价值鉴别、审度和判断.这种评价既有对具体可感形式的审美评价,也包括对作品思想内蕴的审美评价.文艺批评的传播功能就是在释义与评价的动态中完成的.     

文艺鉴赏本质论－中国现代文艺鉴赏理论述评之一

文艺鉴赏是一种审美认识活动，它同文艺创作，文艺批评有着密切的关系，文艺鉴赏具有审美性，情感性和创造性等特点，文艺鉴赏的作用主要是实现文艺的社会功能，既认识作用，教育作用，美育作用，此外还具有治疗作用。     

马克思文艺批评方法的本质特征

把“社会历史批评”或“美学和历史的批评”界定为马克思文艺批评的方法,是不确当的。从马克思的思想体系和批评实践来看,他的文艺批评方法的本质特征,应是基于文艺“公转”律和“自转”律对立统一基础上的辩证批评,即文艺“外部研究”和“内部研究”、“审美批评”和“历史批评”的相互联系与辩证统一。认识到这一点,对于提高马克思主义文艺批评的水准是很有必要的。     

马克思文艺批评方法的本质特征

把“社会历史批评”或“美学和历史的批评”界定为马克思文艺批评的方法,是不确当的.从马克思的思想体系和批评实践来看,他的文艺批评方法的本质特征,应是基于文艺“公转”律和“自转”律对立统一基础上的辩证批评,即文艺“外部研究”和“内部研究”、“审美批评”和“历史批评”的相互联系与辩证统一.认识到这一点,对于提高马克思主义文艺批评的水准是很有必要的.     

《文艺批评论丛》出版

由云南师范大学艺术学院施荣华教授著的《文艺批评论丛》一书 ,已于 2 0 0 2年 3月由云南大学出版社出版发行。《文艺批评论丛》 ,是施荣华教授近 1 0年文艺美学和中国古代文艺理论研究的一个总结。它以现代美学的眼光和审美的角度 ,谈古论今 ,充分挖掘中国古代艺术理论的美学内蕴和现当代文学创作的审美意识。全书分为“文论篇”与“批评篇”两部分。在“文论篇”中 ,主要探讨与研究了中国古代的绘画、音乐、诗歌艺术、理论和小说评点艺术。在“批评篇”中 ,主要研究了当代动物小说的文体特征和美学追求、闻一多的新诗艺术观以及云南儿童文…     

文艺批评向现代形态的新变─—中国当代文艺批评两种视界的演示及其评析

中国当代文艺批评伴随着新中国的诞生已经走过了50年不算短的路程,它经历了由角色化到对话式两个阶段。前30年属于角色化阶段,或者说,角色化占主导地位;后20年、特别是后10年,对话式占主导地位。角色化文艺批评主要表现在：批评理论的“克隆政治”现象;批评实践的“骂”与“捧”现象;批评界的“斗”与“争’现象,是具有高度政治意识形态化的文化专制主义批评模式和视界。对话式批评虽然刚刚起步,但它对新意义追求的努力已经敞示出来：文艺批评理论由单质结构向多质结构转换;研究方法与视角的多样和丰富;从多元并立走向多元互补,是具有现代意识的批评方式和视界。应该说,文艺批评由角色化向对话式的演进,是文艺批评视界的不可逆转的尚新求变的过程。     

也谈文艺批评标准问题

要繁荣社会主义文艺,必须开展正确的文艺批评.毛泽东同志指出:“在我们的社会里,革命的战斗的批评和反批评,是揭露矛盾,解决矛盾,发展科学、艺术,做好各项工作的好方法.”(《毛泽东选集》第五卷,第414页)通过文艺批评,一方面帮助文艺工作者总结经验教训,促进创作的发展、繁荣,一方面帮助广大人民群众更好地领会作品的思想意义和审美意义,以使文艺更好地为人民服务,为社会主义服务.所以,重视文艺批评是非常必要的.为开展科学的文艺批评,近二年来,对文艺批评标准问题展开了热烈的讨论.文艺     

“美学——历史批评”的优势观

马克思主义文艺批评与二十世纪西方文学批评流派相比,具有明显的优越性。在文学观念上,马克思主义文艺批评的美学观点和历史观点有着坚实的美学基础和哲学基础,它可以对作品的审美价值及其社会意义作出全面评价,而二十世纪西方文学批评流派在文学观念上则片面地认为艺术就是艺术,忽视作品的审美价值及其社会意义。就方法论来说,马克思主义文艺批评重视考察与作品相关的外部条件,同时也重视对作品的内部关系的各方面因素进行审视,它是一个动态的、开放的系统,可以不断地从理论上得到充实和丰富。而二十世纪西方文学批评流派却忽视社会历史对文学的要求,割断作品与外部条件的联系,从而使自身的批评机制成为一个自足封闭的系统,其保守性和排它性,势必限制它们的提高和发展。     

Developing Design through a Creative Problem‐Solving Process: A Group Community Art Project

For the past few years, creativity has gradually become an important element in the national cultivation of talent in Taiwan. Although traditionally art education is closely linked with creativity, the academic research on general art education is very insufficient. Therefore, the goal of this research is to investigate how creativity could be cultivated in curriculum planning for general art education at technology universities as well as what students’ learning process was when they participated in a course's creative activity. The research applied the theory and steps of creative problem‐solving (CPS) on a general art course to design a group practical activity combining with the local community. This involved converting the steps of creative problem‐solving into different stages of group design activities with the goal of constructing a design process equivalent to the process of problem‐solving. The main research results revealed that students could experience the problem‐solving process through group design activities and develop their divergent and convergent thinking at the same time. Moreover, the cooperative learning model is the most appropriate teaching strategy for students from non‐art‐related departments when cultivating their creativity.     

论艺术生产的社会效益和经济效益

在市场经济语境下 ,艺术活动越发呈现为一种社会生产 ,商品化、技术化、产业化的发展趋势日益突出。邓小平同志提出的文学艺术要把社会效益放在首位 ,努力达到社会效益与经济效益相统一的思想 ,是我们在市场经济条件下从事审美创造和艺术生产的重要指导原则。加强对”艺术生产”现象的理论研究 ,不仅是艺术发展的自身问题 ,更是我们整个社会健康、全面发展的需要     

实践要求与理论创新--马克思主义文艺理论的当代性问题

本对马克思的重新发现、艺实践性研究的深化两个问题进行了尝试性的解构性分析。作认为从感性实践主体的角度出发，研究艺复现人的感性实践情感的内在机制，探讨这种复现与感性实践活动的内在联系是马克思主义艺理论当代性的重要课题。     

价值论:文艺美学研究的新走向

人类所进行的一切活动,从根本上说都是一种价值活动,都是为了满足人类生存和发展的需要。文艺创作的实质就是审美价值的创造,其主要目的就是为了满足创作主体和接受主体的审美需要,求得精神的愉悦。用价值论来指导文艺美学的研究,体现了文艺美学研究的新走向,必将开拓出文艺美学研究的新境界。     

Artistic Understanding and Motivational Characteristics

This study aims to analyse artistic understanding in primary and secondary education and the relationship between this understanding and motivational characteristics such as goal orientation, engagement in art activities and attitude to art education at school, which determine (according to prior research) learners' academic achievement, in this case the achievement of a group of young students aged between 10 and 17. A positive relationship was hypothesised between artistic understanding and achievement goals, engagement in art activities and attitudes towards art education, respectively. The results obtained partially support this hypothesis, since a statistically significant relationship was observed between artistic understanding and achievement goals, and the significant relationships hypothesised between artistic understanding and both engagement in art activities and attitudes to art education are largely supported by the findings of this study.     

当代书籍装帧艺术之我见

书籍装帧艺术可以说是书籍的造型艺术,是书籍在出版过程中对书籍各部分结构、形态、材料、工艺、装订等设计活动的总和.只有不断地研究和提高书籍装帧艺术,设计出精美的书籍艺术作品,才能符合时代的进步和需要,才能满足人们日益增长的物质和精神的需要.     

艺术教育与科学教育融合的可能性探索--以幼儿园手工制作活动为例

以设计为基础的手工制作具有交叉架构在艺术和科学两个领域之上的特点，教师选择合适的教学素材和指导策略，给幼儿一定的探索空间，能有效促进幼儿的全面发展。     

聋生美术学习策略探讨

美术是各聋校中最普遍、最具特色的专业,深受学生喜爱。由于生理缺陷,一些聋生未能掌握有效的美术学习策略,学习事倍功半。如何在学习策略理论的指导下,结合美术学习的特点,研究探讨美术活动中有助于学生提高美术学习质量、美术学习效率的程序、规则、方法、技巧及调控方式,培养、训练学生掌握美术学习的策略,从而减轻学生学习负担,提高美术教学质量,是我们每一位美术老师都面临的、亟需解决的问题。     

An Art Enrichment Project for Eight to Ten Year Olds in the Ordinary Classroom

The definition of enrichment, embedded in the literature on the subject, means taking children above and beyond their every day learning experience by providing for a short time an unusually challenging environment that will uncover and strengthen talent. The author is a practising teacher who recently did some classroom-based action research examining the effects of immersing mixed ability eight-to ten-year olds in a range of differentiated art experience over an intensive two day period. Three separate projects were undertaken, although only one – a design project – can be discussed here in detail. This involved the author working alongside a class teacher in order to provide `hands on’ InSET experience and help develop confidence in art teaching. Some enrichment art activities were specifically planned requiring children to think and analyse in depth. These were available to all children who selected them but were also targeted to children who in the opinion of their teachers already showed some interest, talent and commitment to art. The other art activities on offer provided a stimulating general art experience but not a high level of cognitive challenge. This paper explores the purpose and design of the research, and offers some conclusions based on a variety of interview and photographic data.     

The Teacher as Researcher: Developing the Skills with Pre-Service Art Specialist Students

This paper details a project which involved a group of art specialist Diploma in Education students, two lecturing staff plus a group of primary school children in a series of planned art activities for two terms. The Saturday Morning Art programme (S.M.ART) was developed to enable the students to systematically focus on art learning in these classes by using largely qualitative research processes within a case study framework. By introducing these pre-service trainee art teachers to research techniques which they can then use, we believe we are preparing them to be self-evaluative and reflective practitioners in the classroom.