论“趣”的美学特征和表现形态

:“趣”是与腐、板、呆、俗等相对立的一种存在。它的具体内涵和表现形态灵活多样 ,本文从“生趣”、“机趣”、“谐趣”、“奇趣”、“天趣”、“远趣”、“拙趣”、“雅趣”等八个方面对之进行概括和把握 ,以期对“趣”这一中国美学范畴作一个比较深入和全面的分析     

趣味教学在应用写作教学中的运用

趣味教学是调动学生学习积极性、主动性，激发良好学习动机，培养学习兴趣的有效措施。在应用写作教学中恰当运用趣味教学这一方法，适时生“趣”，可以达到较好的教学效果。     

论美趣

美趣，即具有美的属性的趣，或者说是“有趣的美”。美趣的概念比“美感”要小，但比“谐趣感”要大得多。美趣的发生源在于那些富有趣味性、娱乐性、引人发笑的幽默、笑话、滑稽表演等；凡是能够直接或比较直接地使欣赏者觉得“有趣”、“有趣味”、“有趣味性”的美的事物，都可能是美趣的发生源。美趣，在中国传统美学中即称为“趣”。这是中国传统美学的一个很重要的概念，与西方美学中“审美趣味”这个概念不完全重合。作为美学名词的“审美趣味”，仿佛是一个边缘有弹性的彩罩．它把“从美的对象接受和引起的情趣、兴味”、“对美的对…     

试论汉字的个性与魅力

本文认为汉字在造字方面具有科学性、概括性,在应用方面又具形体之美、识字之趣和书写之美,同时又具有教育作用、记录作用和生动具体的表情达意功能     

东晋兰亭诗艺术经验论

东晋兰亭诗的创作源于一种新的山水审美观念。山水之本体是“道” ,兰亭诗人以“玄”应对山水 ,把山水之审美客体和审美主体联系起来 ,在此基础上表现了诗人的逍遥之趣。兰亭诗的审美经验主要表现在 :将身心共融于山水 ,求得身心俱畅的状态以及对山水景物的独特体悟。兰亭诗矫正了玄言诗理过其辞的情况 ,对山水美的进一步发现与开拓起到了一定的推进作用 ,在探索通过诗歌艺术在山水文学中表达情感和人生感受方面提供了艺术经验。     

从晚明画谱看当时文人的审美取向

晚明是中国文化发展的转型期,也是中国版画画谱出版的高峰期.这一时期的画谱创作是晚明文化思潮和文人品味风尚影响下的产物,具有相似的风格和审美特征,追求"精雅之趣"、"天然之韵"和"灵动之美",反映了晚明文人多元化的审美取向.     

小学小古文教学模式初探

小古文教学应遵循阅读教学的规律，改变逐字逐句串讲的方式，可采用“以趣激趣，趣引古文——有声有色，趣读古文——巧用方法，趣品古文——适度拓展，趣用古文”这一教学模式，提高学生的小古文阅读能力，培养文言文的语感。     

论元泰定、至正间诗风之转变

元泰定、至正年间,李孝光、杨维桢唱和古乐府诗,以关注民生、讽刺时事、吟咪怀抱之作代替当时流行的颂扬昌明盛世之音;以张扬一己性情之趣改变一趋于正的风雅之声;以风骨遒劲、瑰诡奇绝的诗歌风格取代温柔敦厚的传统诗教.致使泰定、至正诗风为之一变,为元末以张扬个性为主的诗歌风气的形成奠定了坚实基础.     

夏目漱石的“低徊趣味”

“低徊趣味”一语出自漱石为高滨虚子短篇集《鸡头》所作的序言。“低徊”一词,按《广辞苑》解释,意即“边徘徊边玩味思索”。“低徊趣味”一语和“余裕派”,标示了漱石文学的特质。漱石在序言中写道:文章中存在叫作“低徊趣味”的一种趣味。这是我为了行文方便创造出来的用语,别人恐怕不易弄明白。一言以蔽之,它指的是,围绕一事,倾向一物,生发独特的或联想的意味,时而从左面眺望之,时而从右面眺望之,不愿轻易离去的那样一种审美情趣。所以若不叫低徊趣味,改称“依依趣味”或“恋恋趣味”亦可。不过,这种趣味如其名称所示,是尽可能长时间伫…     

汪曾祺“京味”语言中的民俗文化意味

如何恢复人的文化身份 ,是汪曾祺文本着力解决的问题。他的解决途径是语言 ,不仅在人物对话中 ,更在叙述人的叙述中 ,为人物建构精神的家园 ,让每一个人恢复他自己的说话方式 ,恢复他本来的生活状态。建构并安居在他自己的精神和文化世界 ,是汪曾祺的文学文本致力完成的唯一的一件事。让“人”像他本来应该的样子表达着并生活着 ,是汪曾祺“京味”语言的目标     

Sensuous Pageantry

ABSTRACT

This article proposes an exploration of taste through the lens of certain events organized by the Slow Food movement. It aims, first, to situate Slow Food discourses in the practices carried out in particular sites, and second, to account for sensuous relations established between people and food in events such as fairs, festivals, and markets. In redirecting attention to the specificity of sensory practices of the organization, the article contributes to a little-explored field in Slow Food studies. It shows how micro-practices enrich and continuously shape the Slow Food principle of sensory education. Research from fairs, festivals, and markets in England and Italy provides insight into the interactions and strategies of producers, organizers, and visitors, and evaluates modalities of taste-making and taste formation. The article introduces the concept of sensuous pageantry in order to explore multiple ways of engaging with various sensory orders pertaining to the what, who, and how of tasting. It is argued that sensuous pageantry, an often overwhelming and dominant sense of taste and sensing at fairs, brings multiple sensory orders together and creates tensions which alternately undermine or reinforce those sensory orders. As such, fairs offer distinctive conceptual insights for a sociology of taste and the senses, which aims to assess emerging sensory constitutions as potential catalysts and drivers of change.     

The Taste of the Eye and the Sight of the Tongue: the Relations between Sight and Taste in Early Modern Europe

This article examines the articulation between the senses of taste and sight through the representations of their organs, the tongue and the eye, in early modern Europe. The relationship between taste and sight first brings to mind gastronomical aesthetics, and the part played by the eye in the relish of beautifully presented dishes. The first part of this article is therefore devoted to exploring the taste of the eye (or the foretaste of sight) and highlights the harmony of taste and sight in early modern cuisine. However, the forms of reciprocity between taste and sight cannot be reduced to the sole figure of culinary aesthetics, which tends to blur the other multiple modalities that this sensorial association could reveal. The second part, the sight of the tongue (or the invisibility of taste), thus examines more complex layers of the relationship between the sense of sight and the taste organ, through a study of the representations of the tongue and of the gaping mouth in early modern visual culture. Drawing on early modern textual and iconographic resources and exploring: cookbooks; physiognomic works; conduct books; and also engravings and paintings related to the culinary arts, the seven deadly sins, and representations of madness and the fool in early modern visual culture, this essay argues that examining the representations of the sense organs is a suggestive way to explore the relationship between the senses.     

Senses and Cognition in Early Chinese Thought*

In the early history of Chinese thought, a cognitive tradition emerged under the Shang and Zhou dynasties that saw the ear and the mouth as the main means of connecting the inner and the outer world. In the pre-Qin period, particular prominence was given to the cognitive function of the ear and eye, with the latter receiving greater attention; however, in the contest between the two, the ear eventually prevailed over the eye. In the Qin-Han period, the tongue came out ahead in the contest between ear and tongue. At first the ear and the mouth were seen as cooperating, but later in the competition between ear and eye, the ear prevailed, in what can be seen as a restoration of the ancient Shang and Zhou tradition. The same is true of the tongue’s victory in the ear-tongue disputes of the Qin-Han period. The mouth was originally latent in this process, but reappeared as the tongue. The successive victories of the ear and the tongue represented conscious progress in cognition. In the contest of the senses, the eye and the ear were lost out, being supplanted by the sense of taste. This moved Chinese thinking on cognition ever further from the primacy of sight and hearing, with the sense of taste eventually taking pride of place. This led to the creation of a culture in which core concepts such as the Way (dao 道) were dominated by the sense of taste, giving rise to China’s unique taste-based mental universe.     

明代复古派的文学本体论

明代复古派之所以能够发动声势浩大、旷日持久的文学复古运动 ,其中一个重要因素是该派始终坚持文学本体的立场。通过辨诗文之别、诗与非诗之别 ,以及诗歌的时代之别 ,突现了诗歌的本体特征 ;强调诗歌的抒情功能 ,摆脱了议论、铺陈、性理对诗性的裹挟缠绕 ;诗歌六义中特别拈出比、兴二义 ,确立了诗歌的创作原则。辨体、抒情、比兴构成了复古派的文学本体论 ,也是复古派最有价值的文学思想。     

Delicious molecules: big food science,the chemosenses,and umami

Abstract

Since the closing decades of the twentieth century, molecular techniques of mapping chemosensation (the chemical senses of taste and smell) have been woven into a universalizing, evolutionary explanation for human eating behavior. In a prominent example, umami (translated from Japanese as “savory deliciousness”) has come to be understood as the “fifth basic taste sensation,” elicited by the common flavor enhancer monosodium glutamate (MSG) along with other amino acids and ribonucleotides. Meanwhile, socialized associations of food desirability, undesirability, pleasure, and disgust have likewise come to be interrogated on the molecular level – in the oral cavity, in the brain, and throughout the gastrointestinal tract. In this paper, I abridge this molecularization of sensuous eating with the provocation that the sensory is affective is molecular is political. This phrase signals the stakes with which taste and smell are ontologized as fundamentally embedded in memory (and thus in affect and in culture); as conducted in train with corporate food and beverage research and development; and effected at molecular sites of transduction (chemical reception). It is to say that, in recent decades, the sensory and affective domains have been made molecular. And in the context of food science, that molecular knowledge is interested. This paper conducts a brief, critical accounting of how chemosensation is made knowable and actionable, and for what purposes. It suggests that the most authoritative knowledge of how taste and smell mediate human health (the sensory) is shaped by the corporate imperative to determine what chemical compounds humans register as pleasurable (the affective), and thus what food products humans can be relied upon to buy (the political). As a result, a lack of scientific consensus on wider questions of metabolism – of glutamate, for instance – is built into chemosensory science, which has privileged the work of product design.     

以学术为本,办出学术期刊的品位

办好学术期刊,从根本上来说要以学术为本。办好学术期刊的根本途径是:杜绝关系稿件;把住底线、丰富自然来稿,稳住中线;要抓准学术问题、提高上线;提高稿件质量提高学术品位。     

社科理论期刊的学术品位与文化追求--茅盾主编《小说月报》的启示

茅盾当年主编《小说月报》的成功经验启示我们,在市场经济条件下,社科理论期刊要破除狭隘的“内向性”的束缚,以学科特色和学术权威立足于学术界,共同追求创造现代社会的文化价值。各家期刊都要有自己的学术品位与文化追求。期刊有无特色和成就,取决于主编有无办刊理念、智慧和个性。社科理论期刊呼唤茅盾式的编辑人才。     

京味儿电视剧《风车》评析

电视剧《风车》具有鲜明的北京文化特色。全剧主线清晰,情节曲折,构思巧妙,人物塑造具有典型性和代表性,多角度地反映了现实生活,通过复杂的人物关系揭示了人性的深层矛盾,蕴含着深刻的情感和道德内涵,而且营造了浓厚的北京文化氛围,体现出明显的"京味儿"特色,达到了较高的艺术水平。但是,此剧在人物塑造、情节设计、视角选择、风车的意象表现等方面还有一些可商榷之处。《风车》具有较强的现实意义,分析其创作得失,对首都文化建设和电视艺术的发展具有一定借鉴意义。     

唐太宗李世民公文文风辨

对唐初文坛华艳的文风,历来研究者们都认为唐太宗李世民是这种文风的积极倡导者,他的文章也是华靡浮艳的。其实,唐太宗喜好美文不假,他的文学作品中也确实有风格卑弱之作,但其公文作品风格却比较质朴,与其他文学作品不太一样。从公文内容与写作特色等方面对李世民公文文风的辨析,具有一定的史学价值。