论柳宗元山水诗意象之演变

柳宗元山水诗在意象的选取上，永州时期偏向于清、静，这是因为他在永州时期还对未来充满信心，和不断地表现自己的清白；而柳州期间的山水诗在意象的选择上有了很大地变化，以当地风物为表现，意象峻峭险恶，这表现了他强烈的情感和旺盛的生命力。     

中国古典诗词与意象派诗歌的意象对比研究

中国古典诗词与英美意象派诗歌在意象的营造方面存在着一些共同特点：追求简洁，突出意象，时空自由；会意性强，分析性弱，且多数诗歌具有明显的绘画效果。然而，基于中英两种语言的结构模式差异，中国古典诗词大致属于常规性语言范畴，而意象派诗歌基本属于变异性语言范畴。     

论中国古典诗歌艺术形象中意象与物象的统一

中国古典诗歌艺术形象的创作，是诗人头脑中的意象和客观现实中的物象相融合并互相激荡升华为诗中的审美意象，进而与审美物象水乳交融生成了超越客观物象，超越主观情意，超越了宇宙、天地、万物、历史、时空的融而为一的诗歌艺术形象，使诗的光晕获得了永恒的存在。     

Text as design, writers as designers

Acknowledging the changing nature of writing in the 21st century, particularly the increasing significance of visual characteristics in written texts, this paper explores the implications of multimodality for the pedagogy of writing. It considers the potential disjunction between children's life experiences of written texts and the demands of the writing curriculum, particularly in the secondary phase, and whilst arguing for greater recognition of the role of the visual, the paper also notes the importance of ensuring all children also have access to powerful verbal texts. Drawing on two separate research studies, the paper demonstrates how visual characteristics of written texts influence readers' responses to texts, but also how writers are aware of some of the choices they make in shaping verbal texts. The paper argues for a reconceptualisation of the writing process as a design process, and for a pedagogy of writing which encourages, supports and enables writers to become confident and effective designers of texts.     

直觉图像思维模式仍然有启发力——为〈物理学与哲学之间〉作序

充分肯定了新创的量子力学曲率解释的优点，赞扬改进后的“相互作用实在论”，解决了不可知论的疑难。重点强调直觉图像思维模式对于理解量子物理学和对于科学创造的启发性功能。并用多元主义方法论的观点分析几种典型的量子力学解释，表明它们各有独特的一面。     

镜像的建立与都市身份的确认

尤凤伟的长篇小说《泥鳅》用带有鲁迅色彩的叙述手法和细腻的白描笔触，以及和于连等人物形象一脉相承的性格塑造，将都市民工的命运与挣扎完整而生动地展示在读者面前。透视人们的现代都市镜像，并由此镜像带来小说视角等一系列创作方法的变化，是《泥鳅》独有的价值。     

抗日战争中期国民政府弃苏亲美外交政策成因初探

本试图探讨抗战中期国民政府外交政策的转变与蒋介石心目中苏美的不同形象之间的关系，并通过分析这一历史过程，说明形成其不同形象的原因。     

敦煌莫高窟第465窟壁画双身图像辨识

敦煌莫高窟第４６５窟壁画是藏区以外现存最早、 最完整的藏传风格寺庙壁画，在藏传佛教绘画史上具有重要的断代意义。该窟壁画中的个 别双身图像不见于传统的藏传佛教造像体系，对壁画双身像身份的确定，有助于对整个壁画 表现的宗教义理、教派传承，乃至于艺术风格和创作年代的判定。作者根据谢稚柳先生《敦 煌艺术叙录》的藏文记音和藏传佛教造像学描述，对壁画中的双身图像进行了初步的辨识。     

宋代重阳词中的菊意象

两宋社会多姿多彩的民俗节日促成了节序词的繁荣,其中重阳词就是最重要的节序词之一。重阳词里出现了数量众多的菊花意象,这些菊花意象具有丰富的文化意蕴,一瓣菊香,向我们展示着两宋社会丰富的民俗心理、民俗生活画卷。     

Developing deep group reflection within a Critical Reflection Action Learning set

This account of practice describes how a manufacturing company in the North of England transformed their approach to problem-solving and action through the use of a Critical Reflection Action Learning (CRAL) methodology. The company, who had been in business for over 25 years, experienced problems due to a diminishing customer base and substantial changes in customers’ buying behaviour. The account presented here is based on a 12-session CRAL project I carried out as part of my Ph.D. Research at the University of Hull Business School [Shepherd, G. 2011. “An Inductive Exploration of Group Learning and Knowledge Generation through Group Reflection and Psychoanalysis.” PhD Thesis, University of Hull Business School]. This paper describes how the organisation changed the way in which they tackled complex, messy problems through the adoption of a CRAL technique using their own hand-drawn images as the focus for their individual, group and critical reflective efforts. As the action learning set improved their reflective practice, the group began to understand and untangle the complex links between the problems they were experiencing and the way in which the business environment had changed. The group completed the project with a more nuanced appreciation of the problems they experienced and developed their own unique problem-solving style, which mixed reflective questioning with emotional honesty.