论"兴"在王夫之诗学中的生成性意义

明末清初的王夫之曾对中国诗学中的一个古老的范畴"兴"作了重新的诠释.以往的研究者往往只从审美接受论的角度来解释船山诗学中的"兴"范畴,其实"兴"在王夫之诗学中更具有生成性意义.王夫之认为"兴"生成了主体的创作动机与理想境界,同样生成了诗歌审美意象与形式.     

认识与重写——关于当代中国"审美现代性"问题的一种意见

在当代中国文艺/美学理论中,围绕审美现代性话语的生产既是一个认识过程,也是一个重写过程。理论上,认识与重写的良性互动是当代文艺/美学理论发挥话语效力的根本机制。但迄今还不能说这一良性互动已经形成。我们应该走出冲突论认识模式,将审美现代性放在后现代性——现代性——审美现代性的历史逻辑路线中加以重写。     

黯然独自登高千古寂寞情怀--唐代登高诗审美价值探析

表现家国之痛，身世之悲的登高诗作构成了唐登高诗的主旋律。它是诗人时不我待的生命紧迫感、舍我其准的生命价值感以及忧国伤时的社会忧患感在个人政治命运蹭蹬之时体呈现。登高诗的共同意象高台作为寂寞诗魂的精神见证，具有深厚的美学意义。悲秋和荒野的普遍存在 登高诗“悲”的美质。遭遇理想与现实背离的诗人，在寂寞中恪守生命的初衷，走不出既定的历史宿命。     

大学语文教学中的美育方法刍议

审美教育是美学中不可忽视的重要组成部分，它肩负着人类心理结构建设的重大使命。当今社会，对大学生进行审美教育刻不容缓，本文就大学语文教学中的审美方法进行了初步探究，以期提高大学生的审美能力。     

The Centre for Studies in Science Education at the University of Leeds

The purpose of this study was to explore the effects of aesthetic science activities on improving elementary school at-risk families’ children's positive thinking, attitudes toward science, and decreasing their anxiety about learning science. Thirty-six 4th-grade children from at-risk families volunteered to participate in a 12-week intervention and formed the experimental group; another 97 typical 4th graders were randomly selected to participant in the assessment and were used as the comparison group. The treatment for experimental group children emphasized scaffolding aesthetic science activities and inquiry strategies. The Elementary School Student Questionnaire was administered to assess all children's positive thinking, attitudes toward science, and anxiety about learning science. In addition, nine target children from the experimental group with the lowest scores on either positive thinking, or attitudes toward science, or with the highest scores on anxiety about learning science in the pre-test were recruited to be interviewed at the end of the intervention and observed weekly. Confirmatory factor analyses, analyses of covariance, and content theme analysis assessed the similarities and differences between groups. It was found that the at-risk families’ children were motivated by the treatment and made significant progress on positive thinking and attitudes toward science, and also decreased their anxiety about learning science. The findings from interviews and classroom observations also revealed that the intervention made differences in children's affective perceptions of learning science. Implication and research recommendation are discussed.     

论马维尔玄学诗的审美特征以《致他娇羞的女友》和《花园》为例

作为英国文艺复兴时期玄学诗人,安德鲁．马维尔把对自然的细心观察,对人世的深沉思索,对艺术乐感的追求融合在—起,常常选择简单的主题统辖深刻而严肃的观念,借用各种不同的意象寄寓复杂的情感态度,创造独特的艺术形式激发动人心弦的美感。其诗作《致他娇羞的女友》和《花园》之间虽有“情”与“理”的不同指归,却均因具有马维尔玄学诗的艺术背景,表现出艺术还原、意象生动、音韵优美、蕴藉丰富的审美特征而倍受后人推崇。     

蒋孔阳论美育

蒋孔阳认为,审美教育是一种精神教育.一方面,美育使受教育者形成审美的能力,养成完整的人格.体现为外在的化育;另一方面,美育提高教育者自身的人格和修养,是内在的自我教育.二者体现为双向对象化的过程.美育与艺术教育既有联系又有区别.     

实践论视界下的“中国审美学派”

1990年代以降,“中国审美学派”抓住有重大意义的时代问题,提出了新理性精神文论、文化诗学和审美超越论,弘扬了中国传统艺术精神与现代美学传统,有着鲜明的实践品格;在指导当今文学创作和批评实践、提升民族人格修养与道德境界、有效参与中国现代文化建设等方面,“中国审美学派”及其理论有着重要的意义。     

李霞的艺术精神与台湾社会的审美追求

清末民初,出生于福建仙游的人物画家李霞,志存高远,毕生勤学修炼,取法乎上,广博纳取,最终成就了自己的艺术风格,对传统人物画的延续和发展贡献不凡,被誉为人物第一家。李霞于日据中期(1928年)东渡台湾,广交墨缘,传艺授道,积极传播传统绘画艺术,深受台湾社会的关注与珍爱,为日据时期台湾传统绘画传承作出了贡献。李霞的艺术以其具有传统儒学精神,蕴含闽台共有的民间信仰色彩和独特的艺术风格,较大程度上满足了台湾社会对传统绘画精粹的审美愿望和需求,使身处异族统治下的台湾民众在特殊的历史时期,找到了归宗的认同感,并激发内心情愫,重拾和坚定传承中国传统绘画精神的自我信心与审美追求。     

Adventure education as aesthetic experience

This study is an investigation of what happens to participants during their adventure education (AE) experiences and the meanings they ascribe to those experiences. These topics were explored through the qualitative framework of educational connoisseurship and criticism at three sites: a backpacking expedition, a challenge course and a multi-activity adventure programme. Through 183 hours of observation and 74 interviews with 41 participants, the qualities of AE as aesthetic experience were revealed. This conception of AE experience is characterised through sensory encounters, full attention and aesthetic paradox. Findings are supported with the voices of participants, and the significance of this conception of AE experience is discussed.