象征主义绘画的判断

该文通过引用弗洛依德(Saigmund Fred，1856—1939)及容格(Carl Gustav jung，1875—1961)心理学原理，从象征主义本质出发，对典型象征主义绘画作品进行分析，总结并归纳出判断象征主义绘画的规律。     

《野草》实为爱情作证

鲁迅的《野草》是一部具有神秘色彩的象征主义散文诗集。发表方式的独特,出书编序的慎重,隐晦难懂的意蕴,说明《野草》的创作有别于《呐喊》和《彷徨》。鲁迅似乎并不在意读者懂不懂,但《野草》却是鲁迅的最爱。鲁迅一再申明,他并不希望青年读他的《野草》,《野草》只属于他自己。真正走进《野草》的艺术世界,才发现这部诗集实为爱情讴歌,为爱情作证。其实,《野草》是一部具有象征意蕴的爱情散文诗集。     

清教思想在白兰和珠儿关系上的体现

纳撒尼尔·霍桑的著名小说《红字》自 185 0年问世以来 ,无疑取得了很大成功。霍桑生活的时代 ,正值美国历史上清教主义盛行的时代 ,因而清教主义思想在这一小说中有所体现。本文旨在分析清教思想在白兰和珠儿关系上的体现 ,提出白兰和珠儿是一个紧密联系的整体 ,白兰的道德升华过程就是对珠儿的抚养过程。白兰正是在对珠儿的抚养过程中 ,实现了自己从“通奸”向“天使”的转变。与此同时 ,珠儿的象征意义在这一过程中是变化的 ,这变化是同白兰的道德升华过程紧密联系的     

现代流行花语的审美特性及其利用

文章从花语的含蓄性、丰富性、情感性、象征性等方面阐述了现代花语的审美构成与审美特性，并分析了现代流行花语提炼与升华的空间。     

The Rise and Fall of a Mechanical Rhetoric,or, What Grain Elevators Teach us About Postmodernism

I use the one-hundred-year, transatlantic circulation of Le Corbusier's grain elevator photographs to tell the story of the short but vibrant life of a mechanized rhetoric. From 1913 to 1969, these photographs were understood in the context of a mechanized rhetoric, and they starred in the iconography of modernity. From 1971 to 2010, the same photographs were contextualized by a symbolic vision of rhetoric. So contextualized, the photographs lost their prestige and became conduits through which postmodernism was introduced into architectural theory—and from there into the American academy. As a case study of rhetoric's becoming-symbolic, then, this essay foregrounds the opportunity costs of symbolic definitions of rhetoric. It suggests that the twinned introduction of symbolism and postmodernism involved a misreading of rhetorical history.     

纳撒内尼·霍桑:象征主义与讽喻寓言的代表

纳撒内尼·霍桑是浪漫主义时期美国最具天赋的小说和短篇故事作家.他开创了美国文学史上"象征浪漫主义"的创作手法.作为生活在19世纪中期的浪漫主义作家,霍桑深受三种思想的影响清教主义,超验主义和神秘主义.这种矛盾形成了他对社会的怀疑态度,决定了他的写作风格并使他成为象征主义大师.他的主要作品反映了他的思想,体现了他的讽喻的创作手法和强烈的象征主义倾向.     

《雷雨》的戏剧意象及其象征性

曹禺对雷雨意象似乎情有独钟,雷雨意象在其作品中频繁出现,在其代表作《雷雨》中更是高度集中。曹禺利用这一独特意象,多方面展示了雷雨到来之前的特有氛围;从光与声两方面描绘雷雨的强大声势,强化雷雨意象的特征;随着剧情的逐渐推进,写出了雷雨由远及近、由弱到强、渐行渐进的到来过程。追根溯源,《雷雨》中雷雨意象出现的文化根源其实是一种集体无意识——雷雨崇拜,更具体地说是雷崇拜。受古代一系列关于雷雨击杀罪恶之人经验的影响,曹禺在利用雷雨意象烘托人物、渲染气氛的同时,更重要的表达了剧中人物罪的意识、灵魂的审视和救赎意识。     

A critique of neo-Hahnian outdoor education theory. Part two: “The fundamental attribution error” in contemporary outdoor education discourse

Abstract

In the first of a two part series of articles I argued that “character building” in outdoor adventure education (OAE) is a flawed concept. This, the second article, examines the persistence of the idea of character building in OAE in the face of strong evidence that outdoor experiences cannot change personal traits. I examine how the “fundamental attribution error” can explain the paradox of (a) a shortage of evidence that adventure education “works” and (b) a widespread belief that it does “work”. I review the place of character building in research, and develop a critical reading of a representative adventure education text. I show how unchallenged dispositionist assumptions emerge in neo-Hahnian discourse. I explain how discarding the intuitively appealing but fallacious foundations of neo-Hahnism can clear the way for situationist approaches to outdoor education that bring much needed sensitivity to cultural, regional, historical, and social contexts.     

谈《红字》中的象征手法

纳撒尼尔.霍桑(1804—1864)是美国19世纪伟大的浪漫主义小说家。长篇小说《红字》是霍桑最杰出的代表作。作品中艺术手法的运用独具匠心,尤为突出的是象征手法的运用使《红字》成为美国第一部象征主义小说。     

《金色笔记》中象征手法的运用

多丽丝·莱辛的作品,主题多元,结构奇异。本文从主人公、作品形式和作品内容等方面,从象征手法运用的角度释读《金色笔记》。