康定市吉居藏语所属问题

本文针对分布在四川甘孜州康定市吉居乡的藏族语言进行分析。吉居话的语言所属在以往研究里没有共识，有属于扎巴语的意见和属于康巴藏语的意见。通过与藏文的对比，可见该语言为一个属于康巴藏语崩波岗方言群的土话，并非木雅语或扎巴语。基于与吉居话周边土话的比较，我们提出吉居话属于崩波岗方言群雅砻江组的假设性结论。本文的分析方法亦能作为识别康巴藏语中方言所属的参考。     

从《文心雕龙》“由内及外”的思维方式看其礼学蕴涵

刘勰《文心雕龙》无论是对理论体系的设置,还是对具体问题的论述,或是对总纲五篇的排序,抑或是用“文心”来为全书命名,均体现出一种由内及外的思维方式。而归根结底,这种思维方式源于南朝礼学,所以《文心雕龙》与礼学在思维方式层面具有鲜明的异质同构性。刘勰的思想精神与立身行事体现出其积极入世的儒家情怀,彰显出对礼学的热衷推崇,可以说进行礼学批评是其撰写《文心雕龙》的一个动机,以此敷赞圣旨,进而谋求仕进。因此,《文心雕龙》彰显出浓厚的礼学思想特色,具有深厚的礼学蕴涵,由内及外的思维方式正是其礼学蕴涵的表现之一。     

Alliances Across Ideologies: Networking with NGOs in a Tourism Dispute in Northern Bali

This paper explores how local actors form alliances and join networks with (inter-)national NGOs working on religious, political and environmental issues in a dispute over tourism development in northern Bali. All of these actors construct a particular concept of landscape which serves their respective goals to contest or defend the planned large-scale tourism projects. Three of these conceptual framings are identified as playing a major role in the conflict: (1) a spiritual Hindu-Balinese perspective mobilised by tourism protesters and NGOs; in alliance with (2) views on landscape based on sustainability and conservation powerfully represented by international NGOs; clashing with (3) a material and economic view of landscape by international investors, who consider land primarily as a commodity generating economic value. These three contrasting views and resulting networks provide an instrument of moral and political pressure for the contending parties in this conflict over natural resources and tourism development.     

从“入画”观看中国园林与绘画艺术的关系

中国园林艺术是我国极具特色的艺术形式,与绘画艺术有着紧密的联系,且有很高的审美价值,山水画与园林有许多相通之处。“入画”的观念便是其审美特征的缩影,园林与绘画对艺术形象的构建方法异曲同工,绘画意象经过反复、断续等方式呈现于园林之中,这种联系是由老庄亲近自然的出世思想为桥梁的。     

试探教育之于龙启瑞的文学创作

晚清广西著名学者型的文人龙启瑞,其诗、词、文皆工。他的文学创作与所受的教育密切相关。学校教育、家族教育、社会教育等教育,分别从不同层面塑造了龙启瑞的文学创作观念与文学审美理想,最终影响到他作品的内容与形式,催生了具有“龙氏特色”的一系列文学作品。     

身份、 知识与文学创作——基于汉代文学主体的思考

汉代作家是具有不同社会身份、 知识结构及审美取向的个体, 身份、 知识背景对作家创作有直接的影响和规约. 不同阶层、 不同社会身份的文学主体, 日常所关注的事务不同, 所思所想有异, 因此, 诉诸文学创作即形成了言说内容及主题话语的明显差异. 与身份相应, 不同的学术背景及知识结构,也会直接带来文学主体审美取向及话语方式的差别. 身份、 知识结构、 审美取向之异是汉代文学生成及发展的重要内驱力.     

Establishing a new scopic regime: the new landscape painting of Mao’s era

ABSTRACT

After 1949, with ‘serving the people’ established as the basic guideline of art, the reform of traditional landscape painting, which had been appropriated by the cultural elites for thousands of years, was put on the agenda as well. Beginning from the early of 1950s, there were continual debates on the reform of traditional Chinese painting within the art field, through which many artists gradually reached a consensus on the development direction of Chinese painting. At the same time, stimulated by the large-scale xiesheng movement sponsored by the government, Chinese landscape painting changed dramatically in subject, theme, and brushstroke technique, and developed a new style which has its own signifying system. Blending both Chinese and western drawing skills, the new landscape painting successfully created a unique scopic regime, which can establish an organic relationship between personal aesthetic experience and collective historical experience. As a prominent cultural achievement of Mao’s era, the new landscape painting embodies the cultural politics and the technologies of the self at that time.     

《典论·论文》创作时间之我见

曹丕《典论·论文》的写作时间有建安十六年、太子时期、黄初初年前后三说。分析文献及史实,可以发现它的写作时间应该在太子时期,因其创作与《与吴质书》、《与杨德祖书》关系密切,而《隋书·经籍志》对当时书籍存世的记载对确定该文的创作时间下限也有着不可忽视的作用。经过史实研究,可以精确地将《典记·论文》创作时间定位于建安二十二年(217)年十月至建安二十三(218)年二月三日之间。     

论伍德罗·威尔逊的文学观

伍德罗·威尔逊秉承基督教长老派思想,站在超验主义的立场反思科学主义,他批判结构主义造成的新迷信,坚持传统的文本解读策略。威尔逊的文学经典三原则维护文学的人文属性,体现出世纪之交的美国新保守主义思想,其文学观的时代意义在于用新古典主义重建社会价值体系。     

冯宪光对西方马克思主义文艺美学的批判性借鉴

20世纪80年代,冯宪光率先在国内展开对西方马克思主义文艺美学的系统研究,他努力全面准确地述介西方马克思主义文艺理论,并与中国新时期文艺理论进行比较研究,批判地借鉴其优秀成果。他从20世纪西方马克思主义文艺理论的本体论形态角度入手,提出从人类学文论、意识形态批评文论、艺术生产文论、政治学文论四种形态建构马克思主义文艺理论体系,从中国传统哲学和文艺理论中吸收具有启示意义的思维方式和思想方法,对其进行马克思主义的阐释,为建构我国当代形态的马克思主义文艺理论体系做出了开拓性工作。