绘画艺术中的情感与形式

通过对绘画艺术中情感与形式两大重要因素的阐释,挖掘人类的思想意识和艺术形式各自的发展逻辑,探究了艺术中外在形式与内在情感之间"文"与"质"的辩证关系。提倡立足于对内心世界的关切,放眼于所有的视觉资源,形成与自己的内心世界相适应的真正深刻的新艺术。     

论李吉林老师的成长

李吉林是著名儿童教育家,她无论在教育实践方面,还是在教育教学理论研究方面,尤其是在这两者的结合方面,都走在当代中国基础教育领域的前沿。研究李吉林“我的大学在小学”、“用儿童的眼睛看世界”、“警惕自己”、“天亮就出发”等名言和思想,可分别从知、情、意、行四个方面看出她的一些成长规律和特点。     

评《到灯塔去》中理性和感性的统一

弗吉尼亚.伍尔夫摒弃传统的自然主义写作方法,创作了意识流手法的扛鼎之作《到灯塔去》。书中主要人物面对现实世界的混乱、迷惘和虚无,进行着不懈奋斗,从而努力建立起理性和感性和谐统一的精神家园。     

情感逻辑:自由与规范——论孙绍振的文学观念

在逻辑性的论述架构内,孙绍振的文学研究,强调文学情感的独特性和奇异性,同时周密地论证了作为文学的情感,总是为种种文类所约束和规范。这表明,孙绍振推崇审美的诗意、自由的表达,但他更明白文学的自由总是为审美的历史语境所围困,因而,孙绍振的独特贡献,就在于他以精密的方式揭示了情感在一定的历史阶段的表意方式之特殊性。     

中国古代诗人的迁逝感及其文学表现

中国古代诗人大多怀有较为强烈的迁逝之感,这种迁逝感在诗歌中表现为描摹和咏叹春光的匆匆、岁月的流逝、人颜的老去,抒写物是人非的怀旧情绪、古今历史变幻的沧桑之感以及悼念亲友爱人的离世等多种形式。因时光无情流逝而产生的伤感以及今非昔比的怅惘,是中国古代诗人难解的情结,也是带有普遍性的人生际遇和体验,因而很容易引起读者的共鸣。     

文学欣赏的三维构成

就文学阅读活动自身的特质而言，欣赏性阅读与消遣性、批评性的文学阅读有着不同的心理动机：既不停留于在作品中捕捉直接的感官满足，也无明确的功利性和目的性——不以“理性”分析为核心，它追求的是审美愉悦和陶冶升华。因而，作为一种富有特定审美意义的精神活动，对阅读者而言，文学欣赏活动在知、情、意等3个层面有它特有的要求，即：不将艺术等同于生活，漠视常理，认同而不模仿。这也是我们在文学欣赏活动中必须坚持的原则与欣赏态度。     

Comparison of the characteristics of homes for older people in Slovenia with Goffman's concept of the total institution

The past concepts of life and work in homes for older people in Slovenia are no longer adequate to meet the needs, wishes and requirements of their current users. One of the basic premises, relying on Goffman's concept of the total institution, is that the first and foremost characteristic of homes for older people is that they are institutions. The theoretical starting point, namely that Goffman's concept of the total institution is ideal-typical, was corroborated by an investigation of the presence of elements of the total institution in Slovenian homes for older people, proving that not all features of the total institution can be found in any chosen empirical selection of institutions, with the data showing that those characteristics which are present do not exist in the ideal, that is in the most pronounced form. The homes’ users are given consideration, their personnel are adapting to their needs and requirements, even though this occurs within the functioning of an institution whose aims, i.e. to care for a large number of people living in one place, make life in such an institution subordinated to rules, along with the bureaucratisation and routinisation of services.     

When the Management of Grief Becomes Everyday Life: The Aftermath of Murder

This study examines how others indicate that our emotions violate social norms and how people feel about and respond to those indications. The data come from in‐depth interviews with thirty‐two people who had recently lost a loved one to murder (“bereaved victims”). Through the symbolic interaction process, bereaved victims came to appreciate the burden their grief imposed on others, and some of them took steps to minimize that burden. Despite their awareness of the burden, however, many of the bereaved expected others to express heartfelt sympathy for their loss. Instead, people offered inappropriate (and even hurtful) responses, including avoiding the topic of their loss, offering unnecessarily dramatic responses to the loss, and telling them to move on. The responses suggest that current feeling rules and emotion norms surrounding grief do not reflect the true extent of bereaved people's actual experiences, creating awkward situations for potential supporters and the bereaved.     

爱与理想的救赎——解读舒婷《在诗歌的十字架上》

通过对舒婷《在诗歌的十字架上》的文本解读，分析渗透在舒婷诗歌中的基督教文化精神及其出现的社会历史原因，并对以往舒婷诗歌研究中被忽略的宗教文化精神进行深入挖掘，探索其在当代文学中的存在意义。     

南宋景物主体性描写的篇章化与词境的另一洞天

在诗歌的发展进程中,人们先是对情与景的融合有了一定的理论认识,然后在创作实践中才转向作品内情与景的融合。而对作品内情与景融合的认识经过了一个景物的工具化、对象化、主体化三个阶段以及三者与其他各种手法兼容并包的相应变化不断深化发展、逐步完善、最终才走向成熟的过程。情与景的交融又恰在于主客间的彼此交融,景物的主体化使诗词意境中的情景交融成为可能,并使诗词的意境达到空灵蕴藉的高度。