朝向自身的世界：冉冉诗歌创作论

冉冉的诗歌创作，很大程度在面对自己丰富、复杂的内心世界，以诗重重新创造着自己，诗人情感恒定的秩序性和完整性，是其创作的一大显特征，在诗歌观念，题材选择、艺术手法等方面，又呈显流变的态势，长诗《冬天》标志着冉冉的诗歌创作达到一个新的高度。简约而又想象丰富，奇特的艺术手法，展示出深厚、劲健的精神能量，完美地实现了“沉思中把握”事物的艺术目标。     

Investigating Transactions Among Motives,Emotional Regulation Related to Testing,and Test Emotions

The authors examined the relationships among achievement motives, emotional regulation, and emotions. They collected data from 425 college undergraduates (110 men, 315 women) and used several scales, including the Achievement Motives Scales (K. Hagtvet & L. Zou, 2000), the Emotional Regulation During Testing Scale (P. A. Schutz, C. DiStefano, J. Benson, & H. A. Davis, 2004), and the Regensburg Academic Emotions Questionnaire (R. Pekrun, T. Goetz, R. P. Perry, K. Kramer, & M. Hochstadt, 2004). Findings suggest that approach—avoidance motives were related to different academic emotions (i.e., pleasant and unpleasant) in the expected directions. Approach—avoidance variables, cognitive-appraisal processes, and during-testing processes explained significant amounts of variance in both test hope and test pride, and several categories of students emerged, including those of high approach—low avoidance, low approach—high avoidance, moderate approach—high avoidance, high approach—moderate avoidance, and moderate approach—low avoidance. The authors also discuss future research and implications.     

关于诗歌的情景交融

诗言志,志含情。在诗词艺术创作中,情不能抽象地表达,当人们对外物动之以情,往往与客体——景（含人和事）相伴相生。诗人的主观情志只有与诗中所表达的客观事物相结合,造成生动感人的形象,并达到情景交融的境界,才能完成其为诗歌主旨服务的任务。本文对情景交融的形式和规律及古代诗歌批评史上的有关经验和争论,阐述了自己的看法。     

论中国画的写意精神

写意是中国传统绘画最主要的特征。儒、释、道相互影响,相互渗透,对中国画文化品格及写意精神的生成、培养和发展,起着十分重要的作用。“意”是作者发挥性灵感想,于画外寄托的高情雅致。是画家参与造化之机,脱却胸中尘俗的、极纯粹的心境。以书入画——书写性是写意画的不二门法。     

论元代辞赋创作各个时期的不同情致

元代辞赋的一个主要特点就是“因情立赋”,但其不同时期所抒发的各种主要情感却不尽相同。元代前期辞赋作品的主要情感是积极用世、退隐自适、仕隐矛盾;元代中期辞赋作品的主要情感是赞美复科、崇古尚理、怨世自伤;元代后期辞赋作品的主要情感是超世解脱、批判现实、迎新怀旧。从抒情方面来看,元赋中一些优秀作品超唐越宋,起到了矫正唐律赋、宋文赋情感缺失的作用。     

《春江花月夜》与莎氏商籁体之声韵比较

音乐是人类情感的共同语言,中西诗歌都具有声韵美的音乐属性。尽管中西诗歌呈现出各自不同的韵律形式,但在表达人类情感经验上始终是一致的。本文从乐调、声韵与情感的对应关系来分析唐诗与十四行诗的声韵美。     

真人真性情——走进周立波的散文世界

周立波1937年以前的散文创作主题是揭露国民党的卖国政策，表达对黑暗社会现实的鞭挞和对光明自由美好生活的向往；1937年后的主题是反映人民积极工作、国家蒸蒸日上的现实以及他在目睹这一切后的兴奋激动之情。他的散文饱含浓烈的情感，记人叙事笔触细腻，喜用口语化的语言，亲切随意。     

The role of negative emotions on motivation and communicative action: Testing the validity of situational theory of problem solving in the context of South Korea

The purposes of this study are to explore the role of negative emotions in the framework of the situational theory of problem solving (STOPS). First, we tested the validity of the original STOPS model with a sex crime issue in the context of Korea. Second, we tested the mediating role of negative emotions in the relationship between situational recognition and communicative action. The result suggests that STOPS is a useful model with a crime problem in the Korean context. Also, our proposed model shows that negative emotions serve as another aspect of motivation, and emotional experiences might precede subsequent cognitive activities. Especially, negative emotions show a stronger effect on situational motivation than communicative action. This study also found that negative emotions people feel about sex crimes directly influence their communicative action. Among different types of publics, the active and aware publics show stronger emotional responses than do the latent publics and nonpublics.     

诗行间的生命吟唱——屈骚语言艺术解读

屈骚鲜明的语言艺术，在很大程度上体现出其缘情重丽的特征。比兴、设韵、错落、对偶、铺陈，以及语气助词“兮”和结篇所用“乱”皆使诗篇形式华而，情长意绵。其语言艺术与中国传统诗词也有着诸多共通性，并且表现出国人共同的诗歌审美心理特质与情趣追求。     

论《白雪歌送武判官归京》的感情脉络——兼评《“风掣红旗冻不翻”新解》

岑参的<白雪歌送武判官归京>是以白雪为背景的送别之作,将送别之情寓于咏雪之中,以融情入景的笔法,暗示送别之情,形成隐伏于篇中的感情脉络.但<"风掣红旗冻不翻"新解>一文,却对"风掣红旗冻不翻"作了曲解,认为"风掣"二字,正是"红旗冻不翻"的根本原因","北风将红旗全部吹开并拉直","红旗在空中一动不动","丝毫不翻卷".这样的"新解",颅不合<白雪歌送武判官归京>一诗的实际,既穿凿于写景的理解,又丢弃了"风掣红旗冻不翻"的表情作用.