从《活着》看余华小说的生命意识

余华在《活着》中用平静的语调向读者讲述了富贵的坎坷人生故事,从叙事内容到作品内涵都表现出一种坚强而又孤独的生命意识,主要表现在对生命价值和目的的全新认识、对苦难的正视与超越等方面。这种独特的生命意识,从哲学层面来看是一种积极面对生存,沉着应付苦难,坦然面对死亡的人生观,在某种程度上体现了作家从终极意义上对人的生存悲剧和生存宿命的探寻与超越。     

现代西方心灵哲学意识理论研究独特视阈

将意识泛化为一切心理现象是形成当前意识研究聚讼纷纭格局的总根源。现代西方心灵哲学立足概念语词的语法与语义考察意识,规定意识的本体论地位,找出意识所具有的＂觉知＂与＂qualia＂的基本硬核,建构两种基本意识研究模型,形成意识问题深层对话、研究的开阔视野,为消除意识研究中的二元式＂幽灵＂,发展马克思主义意识论研究,彰显马克思主义意识论的应有地位提供了多重启示。     

浅谈符号学在室内设计中的表达与应用

室内设计作为人类典型的创造性文化活动,其符号特征鲜明而深刻,本文通过对符号学理论以及符号学室内设计关系的研究,探讨了符号在室内设计中的合理表达与应用,从而更加充分表现出设计作品的特点。     

"儿童本位的小说"——从儿童心理看儿童小说的审美特征

儿童文学的概念历来是文学界讨论的焦点。郭沫若提出儿童文学是“儿童本位的文学”及后人的总结都离不开儿童心理的因素。儿童本位的小说正是以自己的审美特征展示了儿童的心理,展现了儿童小说的无穷魅力。     

审美创造中的"迁想妙得"

文章根据东晋画家顾恺之所提出的"迁想妙得"的审美观点,阐释了审美创造中"迁想妙得"的实质,即在创作中,审美主体必须充分发挥自己的想象力,对所见、所写、所画的对象进行联类想象,进行形象思维,并艺术而又创造性地表现出对象的特点.     

More than relations between self,others and nature: outdoor education and aesthetic experience

Self, others and nature (environment) have been suggested over numerous decades and in various places as a way of understanding experience in outdoor education. These three elements and the relations between them appear to cover it all. But is this really the final word on understanding experience? In this paper I explore two emphases within experience expressed by Peirce that offer differing ways of understanding experience: in one emphasis self, others and nature are submerged and not discerned; in the other they appear as the three familiar and related elements. The first emphasis is phenomenological and focused on a simple whole; the other is pragmatic and concerned with a total whole (elements in a totality). The key distinction here is that between something simple (one-fold) and something total (manifold). For Heidegger the difference between these is the ontological difference, where the two differing emphases are be-ing (verb) and beings (noun); or, expressed in another way, phenomenological thinking and calculative thinking. For Dewey these two emphases are revealed as aesthetic and reflective experience, both connected via inquiry. Awareness of this difference and connection suggests that issues involving self, others and nature as elements emerge from and return to the aesthetic ways of being (or occupations) that we build through our programme design and conduct. Relations between self, others and nature are submerged within these ways of being, highlighting how our programme design and conduct does not merely concern activities (including reflective activities), but involves building ways of being.     

日本人的内外意识在日语教学中的应用研究

日本人的内外有别意识在日语词汇、随声附和表达和寒暄语、惯用句和谚语等方面都有所体现。日语教师除了平时要有意识地积累自身日本文化常识,关注语言现象背后所蕴含的内外意识之外,还需在课堂教学过程中对日本人的内外意识进行针对性的讲解和训练,并可通过旁征博引、中日对比、情境模拟等组织形式开展丰富多样的课堂教学,以加深学生对日本社会内外意识的理解和掌握。     

生态美学视野中的建筑美学研究

作为当今世界前沿的美学理论,生态美学在哲学基础、思维方式、研究方法等方面有着巨大的理论优势。当代建筑美学可以吸收生态美学的理论优势,挖掘自身生态维度,不断拓宽、深化自己的研究,从而更好地理解、体验建筑美。这可以从三个方面进行有益的尝试,即从有机整体视野、文化生态与审美参与三个角度拓展建筑美学研究。     

浅论苏轼“以才学为诗”

宋代诗人喜欢"以才学为诗"。苏轼尤甚。苏轼之所以喜好"以才学为诗",自有其不便言说的独特的创伤初衷,这就是:(1)要抒胸中"忧愁不平气",(2)作家(诗人)与学者兼于一身特殊身份所使然,(3)强烈开宗立派意识所驱使。由此形成了苏轼独特的文本类型,即:(1)用典使事型,(2)多次韵型,(3)艺术鉴赏型,(4)因物寓理型。同时,苏轼在"以才学为诗"的实际操作中,自有其一套与之相适应的审美特征:一是经史百家学问穿插互用;二是以才学寓托诗人心志和寻求精神之"适";三是凭才学拓展诗歌题材。此外,苏轼"以才学为诗"具有极其重要的创作意义。     

《白苍鹭》中的美学意境

《白苍鹭》是美国乡土文学作家萨拉.奥恩.朱厄特的短篇小说代表作,本文从其美学意境的角度出发,分析文中所展现的情感美与形象美,探讨人类对真、善、美的永恒追求。