审美主义与中国现代文学传统

在哲学和美学领域，审美主义是基于人的审美感性对艺术问题所进行的理论性思考；在文学史上，审美主义所代表的是以艺术实践主体性与艺术自由化原则相标榜的文学认识和实践行为。在中国现代文学史上，审美理想主义作为的启蒙浪漫主义的逻辑延续，包含了消极价值倾向和积极价值倾向两种不同生存形态，在审美主义意义上通过确立审美结构与知识学结构互补的思想结构态势，并在对于传统性与现代性的“辩证”理解中形成了具有独立品格的中国审美主义文学传统。     

理论体系与关系主义的“美学立场”

有关＂反本质主义＂的持久论战表明,在处理一些知识、概念问题方面,学界都能较有效地规避本质主义的禁锢,并防范反本质以至陷入相对、虚无的陷阱,但在处理理论体系时,则往往无法逃逸出僵化的思维模式。这种僵化主要表现为对内部研究与外部研究二元区分的盲目固守。而理论体系归根结底涉及到文学理论的＂美学立场＂与功能问题。对此,关系主义重新启用了＂美学立场＂这一左翼思想界很具实践效能的传统概念。不过,它并没有因其美学立场而放弃文学性质与特征的研究。话语分析这一方法论有效地将美学形式与立场结合了起来。     

伦理学视角的刑事诉讼价值

从认识论角度考察刑事诉讼价值将无法摆脱工具主义的束缚，必须从伦理学视角予以重新审视。刑事诉讼价值包括外在价值和内在价值两个方面。刑事诉讼价值论对于刑事诉讼的理论和实践都具有重要的意义。     

价值论美学的历史起点--唯意志主义美学的评价

文章把唯意志主义美学放在哲学史和美学史的大背景下，分析它在从哲学认识论向价值论的转折过程中的划时代意义，并因此得以把美归入价值领域，肯定了审美的意志功能，分析了叔本华、尼采各自的美学内容、结构、矛盾及发展趋势。     

阻碍效应的理论研究述评

阻碍效应的研究对学习机制的探讨具有重要意义.联结主义学派和认知主义学派都对阻碍效应的机制进行了系统探讨.联结主义学习理论认为阻碍效应的存在是刺激之间竞争的结果,而认知学习理论认为阻碍效应是人们理性推理的结果.文章对阻碍效应的相关理论进行了回顾,并从学习双机制角度对阻碍效应的研究方向进行了展望.     

艺术学理论知识体系及其认识论

对艺术学理论知识体系及其认识论展开研究具有重要的价值和意义。张道一等四位代表性学者关于艺术学理论知识体系的论述体现了实在论、本质主义、辩证法等认识论特征。当下艺术学理论知识体系面临唯名论、反本质主义美学等挑战。在坚持以整体的、综合的视角研究艺术的本质和普遍规律这一主线基础上,综合考量艺术学理论知识体系的实际指向、艺术的独创性特点、艺术相关社会活动的理论需求、已有研究成果分布情况等方面,未来艺术学理论知识体系研究可从艺术哲学、比较艺术学、艺术交叉学科、元艺术学四个分支展开,以便明确研究方向、兼顾原本的特色,促进其更加科学合理的发展。     

颓废:一种现代审美范畴

日常想像中的颓废更多地指涉一种道德或心理范畴,但颓废概念实则还波及到伦理、政治、宗教和文艺等诸多方面,其意义极为含混复杂。除却堕落、衰败等贬损内涵之外,其还包含叛逆、转型和更生等积极性意义层面,尤其从美学视角来看,颓废可视为一种美学风格,代表着对艺术、生活和自我本身的一种审美理解。颓废文艺带有反自然性、非道德性、唯美性和否定性等美学品格,蕴含着独特而重要的审美价值。将"颓废"作为现代美学意义上的一种新型审美范畴探讨其背后深层次的审美意蕴,具有不容忽视的美学意义。     

L＆J认知语言理论与乔姆斯基语言理论的哲学冲突

文章从方法论和认识论的角度分析了L＆J认知语言理论与乔姆斯基语言理论在哲学上的矛盾与冲突。乔姆斯基的普遍语法研究比较注重形式,L＆J的认知语言理论比较注重语义;在认识论上,乔姆斯基语言理论的基础为“理性主义”;而L＆J的认知语言理论则为“体验主义”。至于后者是否已经构成了对前者的一场革命,语言学界还尚未产生一个定论。     

评李志宏著《认知美学原理》

上世纪60年代以来,西方美学遭遇到两个难题:一个是在分析主义美学视域之下,"美是什么"问题的合理性无法得到证明;另一个是在审美经验理论视域之下,审美知觉、审美注意的形成及来源无法解释。吉林大学李志宏教授的新著《认知美学原理》(光明日报出版社2011年出版)在这些方面作出了有益的尝试和探索。《认知美学原理》以马克思主义方法论为指导,借鉴西方美学理论,运用现代认知科学研究的新成果,结合审美实践,对美学的原点性问题做出了新的阐释。该书认为,分析美学主要运用语义分析方法进行美学理论判断,这一     

颓废：一种现代审美范畴

日常想像中的颓废更多地指涉一种道德或心理范畴,但颓废概念实则还波及到伦理、政治、宗教和文艺等诸多方面,其意义极为含混复杂。除却堕落、衰败等贬损内涵之外,其还包含叛逆、转型和更生等积极性意义层面,尤其从美学视角来看,颓废可视为一种美学风格,代表着对艺术、生活和自我本身的一种审美理解。颓废文艺带有反自然性、非道德性、唯关性和否定性等美学品格．蕴含着独特而重要的审美价值。将“颓废”作为现代关学意义上的一种新型审美范畴探讨其背后深层次的审美意蕴．具有不容忽视的美学意义。     

超越主观论美学和客观论美学——盖格尔现象学美学的学科定位

德国现象学美学家盖格尔在美学研究方法上,超越"自上而下"与"自下而上"方法之争;在美学学科定位上,将"审美价值"作为美学学科区别于其他学科的标志;在艺术本质问题上,主张艺术是一种存在体验;在艺术功能的理解上,认为艺术能够提升我们至生命的顶点。盖格尔的美学兼有主观论美学和客观论美学之长,却又超越了二者的片面性。     

艺术的本质何处寻？——20世纪分析美学研究的新视野

分析美学是20世纪后半期西方美学界占据主导地位的美学流派。在标新立异的先锋派艺术不断冲击传统的艺术观念,从而导致艺术与非艺术的边界趋于模糊之时,它却摈弃了美学家应有的批判精神,一味对新艺术采取亲和的态度,企图以艺术的制度论为其作理论辩护。然而,由于艺术制度论放弃了对艺术在人类社会中的意义的探寻,它最终不能真正把握艺术的本质。作为文化的一个重要组成部分,艺术的本质其实在于艺术所固有的人文功能。     

苏轼山水艺术美学的哲学基础与主要范畴

苏轼在山水艺术创作基础上形成了自己独特的山水艺术美学思想.在他看来,水是天下至信之物,具有至真、至形、至善的特点,是"不变性"与"可变性"的统一.以此为基础,各种山水景物既体现出"漠然无形"的特征,也体现为有机的整体形象,并蕴含无限的内在意味.山水艺术作品就是要通过"平淡至味"的艺术意象来体现水之至信的本性和山水漠然无...     

Inhuman forms of life: on art as a problem for post-qualitative research

Researchers navigating the ontological turn in educational research have increasingly looked to art as an alternative to conventional modes of qualitative inquiry. However, the rapprochement between art and post-qualitative research remains problematic. While some see this turn coinciding with established genealogies in arts-based research, others suggest that existing models of arts-based inquiry are largely incompatible with the radical onto-epistemological orientations associated with post-qualitative research. This paper argues that the integration of art into the social sciences is far from settled, while also offering a series of speculative propositions for an inhuman aesthetics that is responsive to the ontological turn. This inhuman theory of art is elaborated through Deleuze and Guattari’s philosophy, and extended through an analysis of collaborative artworks produced by undergraduate visual art students. This leads to a consideration of how post-qualitative approaches might enable mutual activations among art, philosophy, and social research.     

美术教育对受教者的关注及施教者知识建构要求

美的本质和人的本质、生活的本质的关系问题,一直是美学研究的核心问题。在这里,我们尝试从美术教育这个视角,初步探讨美的本质与美术教育中的一些现实问题,从美学的范畴以及在美学研究的构架中分析研究学校美术教育的问题,这对研究美学来说,也是一个重要的环节。     

Evaluating Students’ Performance in Responding to Art: The Development and Validation of an Art Criticism Assessment Rubric

This article reports on the development and validation of a rubric for assessing students’ written responses to artworks. Since the implementation of the Hong Kong New Senior Secondary Curriculum in 2009, art educators have seen responding to artworks as increasingly important. In this context, the Art Criticism Assessment Rubric (ACAR) was developed. On the basis of Feldman's and Geahigan's theories of art criticism, eight evaluation criteria were identified. The inter‐rater reliability (IRR) of the ACAR was examined. A preliminary IRR test was conducted and an excellent intra‐class correlation coefficient (ICC) value of .91 was obtained. For the main study, six independent raters, who were divided into three groups of two, were trained and invited to rate 87 art criticism essays written by students from eight secondary schools. Most dimensions of the ACAR achieved good ICC values. The results show that the ACAR is an acceptable rubric for providing a reliable assessment of students’ written responses to artworks. However, two dimensions, Originality and Balanced Views and Application of Aesthetic and Contextual Knowledge, obtained poor ICC values. This may be owing to the lack of consensus on the definition of originality and the raters' unfamiliarity with the concept of aesthetic knowledge. The researchers suggest that dimension‐specific samples rated from high to low scores should be provided in raters’ training.     

论原始彩陶纹样对中国艺术审美特征形成的作用

不同的文化背景,产生不同的民族绘画,一切艺术上所谓的"感觉"实际上是每一个特定时代与条件上的个体生命对认识对象所做出的文化判断。中华五千年的文明,缔造了具有中华特色的艺术表现特征,这种特征既是原始先民长期生活的积累,也是一种高度文明产生的见证。在原始文化中,彩陶艺术堪称原始艺术中的一颗瑰宝,其丰富的纹饰描绘又是研究其审美特征形成的依据之一,纹饰的出现和演变都对未来中华艺术审美的形成奠定了重要基础。     

康德美学和崇高美学

康德对美的分析和崇高的分析分别构成了现代美学体系建立的奠基石和"美之美学"走向终结的肇始.利奥塔的崇高美学是从康德的崇高论发展而来,虽然与康德的本意已大相径庭,但其解读仍是符合康德崇高论的内在理论思路的,后来蓬勃发展的西方现当代艺术,从某种程度上也正好说明了"不可表现性"的崇高美学理论.     

Building Bridges: Experiential Art Understanding

When building the bridge of experiential art understanding, the focus is set on the key stone of self in the centre of the arch. Art interpretation as a means of understanding and constructing self is based on the view of self as an unilinear collage of the accumulated life experiences each of us possesses. It is a whole consisting of different roles and relations, cultural identity being a crucial part of it. Self-identity is the experience of distinctness, agency, and continuity that is formed through one’s personal life history. In the model of experiential art interpretation, the process of art interpretation is understood as a series of events where the viewer’s past and present experiences are the basis for constructing new knowledge. The dialectics between personal and social knowledge happens through the different, coequal forms of grasping and transformation. Experiential art interpretation combines strategies from the disciplines of art history, aesthetics, and criticism, and connects them to the experientially-based processes of reflective observation, conceptualization, and production. A central concept in experiential art exploration is transfer, which means the ability to apply knowledge and skills learned in one context to other situations. Transfer leads to increased self-consciousness and metacognitive skills. For transfer to happen, learners have to be able to apply processes of artistic inquiry both in understanding other artworks and in making their own artworks. The second level of transfer has to do with the ability to apply the new ideas and attitudes adopted in the interpretation process in real-life situations.     

Political and Aesthetic Equality in the Work of Jacques Rancière: Applying his Writing to Debates in Education and the Arts

This paper draws on insights from Jacques Rancière's writing on politics and aesthetics to offer new perspectives on debates in education and the arts. The paper addresses three debates in turn; the place of contemporary art in schools and gallery education, the role of art in democratic education and the blurring of boundaries between participatory art and community education. I argue that Rancière's work helps to illuminate some essentialist assumptions behind dichotomous arguments about contemporary art in the classroom—both over‐hyped claims about its value, and exaggerated fears about its threat to educational values alike. On democratic education I argue that his work highlights the importance of the aesthetic dimensions of democratic learning and, on art and community education, I issue caution against readings of Rancière's work that frame his contribution as a ‘rehabilitation‘ of the aesthetic. Although each debate is tackled discretely, the paper advances the overall argument that attention to equality in Rancière's work—both aesthetic and political—is vital when applying his philosophy to debates that occupy the boundaries of education, politics and art.