邓恩《别离辞·节哀》圆意象的隐喻意义

邓恩的爱情诗《别离辞·节哀》是玄学诗的经典之作。为让完满的爱情以感性的形式再现,诗人借用大量的圆意象作为隐喻。如按传统修辞学的观点把隐喻两个项的相似点局限于对语言形式的分析,邓恩式隐喻显然“牵强附会,荒诞不经”。理查兹博士(I.A.Richards)的“互相作用”理论(InteractionTheory)指出,隐喻是思维的互相交流而非词语的相互作用。这一理论对邓恩的奇喻有很强的解释力。现试用这一理论分析诗中圆形意象的隐喻意义。     

论《蝇王》中火的意象的嬗变

本文通过对《蝇王》中“火”这一意象在不同语境中衍生出的意义的阐释，展示其从文明之火到毁灭文明之火的嬗变轨迹。火这一特殊意象形象地展示了在人类文明蜕变的过程人性逐步泯灭、从理性走向非理性的运动轨迹。火的意象的嬗变轨迹，正是人类文明从希望到无助的演绎，是人类文明从高峰跌入低谷陷入尴尬境地的痕迹，这对于深化小说主题具有非常重要的作用。     

花容月貌玉颜春心－李白妇女诗意象群论析

李白在描写妇女的诗歌中,大量运用“花”,“月”,“玉”,“云”,“春”等一系列优美意侧面点染,烘托女性之美丽可爱,坚贞纯洁,构成了鲜明独特的诗歌意象群,从而使他笔下的女性成炎一种客观存在的,普遍的美而令人赞叹,其妇女诗也因之而显得高雅隽永。     

皎然意境理论的主要特点及对后世的影响

皎然的诗论中关于意境论的建构不仅在唐代诗论中极具代表性,而且在整个中国诗歌理论史上具有极其重要的地位,在其意境理论中,皎然将禅之心境、道之意象、儒之比兴综合起来论诗,对后世意境理论的发展和文学创作产生了深远的影响.     

简论舒婷爱情诗的艺术特色

本文试图从伟大的人格力量和崇高的爱情理想 ,意象的自然景物化及其疏密有致的组合 ,细腻的心理描写 ,语言的平朴、纯净及接近口语等方面对舒婷爱情诗的艺术特色作一个简单的论述 ,旨在加深对舒婷爱情诗的理解和把握     

异域的牡丹——对意象派和中国古典诗词的简单比较

20世纪初的意象派诗人,为了摆脱当时陈腐的“维多利亚”诗风,积极从东方寻求新的写作灵感,他们着迷于中国古典诗歌中丰富的意象及其呈现方式,对中国古典诗歌的一系列译诗及其意象派诗作作品都造成了较大的影响,     

Letter to the editor concerning the article “Performance of gymnastics skill benefits from an external focus of attention” by Abdollahipour,Wulf, Psotta & Nieto (2015)

Abdollahipour, Wulf, Psotta, and Nieto (2015) recently published data in the Journal of Sports Sciences to show that an external focus of attention promotes superior performance effects (gymnastics jump height and judged movement form score) when compared to internal or control foci during skill execution without an implement involved. While we do not contest the veracity of findings reported, nor others that have been used to support beneficial effects of an external focus of attention, in this Letter to the Editor we comment on considerable methodological limitations associated with this and previous studies that, we suggest, have resulted in serious theoretical oversights regarding the control of movement and, most crucially from our practitioner perspective, suboptimal recommendations for applied coaching practice. Specifically, we discuss the lack of consideration towards translational research in this area, the problematic nature of attentional focus cues employed, interpretation of findings in relation to other applied recommendations and coherence with mechanistic underpinning and, finally, the representative nature of task involved. In summary, while (laboratory) research evidence may appear to be conclusive, we suggest that the focus of attention effects are in need of more ecologically valid and rigorous testing as well as consideration of current coaching practices if it is to optimally serve the applied sporting domain that it purportedly aims to.     

Algorithms,Visualization, and Mental Models: High School Students' Interactions with a Relative Motion Simulation

Galileo's contemporaries as well as today's students have difficulty understanding relative motion. We hypothesize that the construction of visual models, resolution of these visual models with numeric models, and, in many cases, rejection of commitments such as the belief in one true velocity, are necessary for students to form integrated mental models of relative motion events. To investigate students' relative motion problem solving, high school science students were videotaped in classroom and laboratory settings as they performed collaborative predict-observe-explain activities with relative motion computer simulations. Half of the students interacted with simulations that provided animated feedback; the other half received numeric feedback. Learning, as measured by a diagnostic test, occurred following both conditions. There is evidence that many numeric condition students used faulty mechanical algorithms to solve problems, while many animation condition students used mental imagery to solve problems. In this paper, interactions in which student involvement was visual model based will be contrasted with interactions in which involvement was algorithm based. Implications for pedagogy and educational uses of computer simulations will be discussed.     

古代语言文学三题

古代语言文学三题@王宜早$南京晓庄学院中文系!江苏南京210017     

论“神思”的形象思维本质

《文心雕龙》的“神思”论是文学创作的形象思维论,刘勰以“想象”与“意象”的联系,揭示了表象运动的形式;以“具象”与“思理”的关系,阐明了理性思维的作用;以“积学”与“养气”为前提,解答了培致思维能力的条件及灵感思维的问题。这样,就从形象思维特点、运行方式、培养机制以及它与理性思维的关系等几个方面,完整地阐述了艺术思维的一般特点和规律,在陆机《文赋》创作构思论的基础上,又作出了新的理论贡献。