对艺术创作过程的审美心理描述

由艺术创作过程的本质特征所决定,艺术创作过程是以艺术家为审美主体、以客观生活中的审美客体为审美对象、由艺术家的艺术(审美)实践所构成的审美过程。“真正的审美括动,应该建立在创作过程、或艺术欣赏过程之中,也就是说,应该在艺术的审美活动中,来考察审美过程的各种中介联系。”①本文将从艺术家(审美主体)的审美心理入手,大略地考察艺术创作过程必经的各个阶段和中介环节,以及在此过程中艺术家的审美感觉、知     

文艺的社会心理分析法——科学的文艺心理学研究的基本原则与方法

本文认为 ,文艺心理学已成为现代文艺学的重要学派之一。而主要从西方现代心理学派中借鉴的文艺心理的研究方法 ,在认识论上大都存在着把人类心理简单化、生物学化的偏颇与倾向。要使文艺心理学研究走向科学 ,就必须确认人的审美意识和艺术活动与社会心理不可分割的联系。马克思恩格斯的文艺批评实践为我们提供了对文艺进行社会心理分析的经典范式。由恩格斯提出、经普列汉诺夫完善的“中介环节”说 ,则把社会心理分析提升到了作为科学的文艺心理研究必须遵循的基本原则与方法的高度     

社会文化变革与大众审美情趣

一个时代的政治经济之变化常常孕育出新的思想文化,而思想文化的变革必将引起人们的社会审美心理和审美趣味的变化。也就是说,不同时代和不同社会的政治经济孕育着不同的思想文化,而不同的思想文化导致人们产生不同的审美心理和审美趣味。而这些思想文化却直接影响人们的审美观念和审美趣味的变化。关于这—点我们可以从中国美学的发展历程中明显地看到。     

当代社会认识中的审美追求

社会认识中的审美追求根源于马克思的在社会实践中“人也按照美的规律建造”的重要思想。当代社会认识的审美追求体现在三个层面:日常的社会心理;阐释的社会理论;决策的社会规划。在日常生活中,人们以美的眼光来感受社会的物质文明与精神文明。审美设计、管理美学、社会发展美学等新兴学科对日常生活审美加以理论阐释,在此基础上,和谐社会成为新的社会规划的审美理念。研究当代社会认识中的审美认识具有重要理论意义与实际价值。     

“特征图式”——艺术超越性的本源

“图式”是从康德和皮亚杰的哲学著作中借用来的概念。作为人类在长期的历史实践中积淀形成的心理结构,“图式”不仅是认识活动的中介,而且是一切对象活动,包括审美活动的中介。“特征图式”则是艺术作品的形象形式的特征与人类的心灵图式的契合物,是审美主客体的中介,通过“特征图式”,审美主客体才能达到真正的和谐统一。优秀艺术作品的一切复杂、神秘的现象。都隐藏在“特征图式”之中,艺术创造本质上就是特征的发现与表现的过程。     

论旅游审美与导游

旅游本质上是一种审美活动。旅游审美文化包括自然审美文化、社会审美文化和艺术审美文化三种类型。中西传统文化的差异决定了中西旅游审美文化的差异,旅游审美主体的差异决定了旅游审美实质和旅游审美价值的差异。导游员在旅游活动中是审美信息的传递者和审美活动的调节者,作为沟通旅游者和旅游目的地的重要的服务中介,对于提高游客旅游审美有重要的作用。     

论艺术批评的美学原理

(一) 艺术批评以艺术欣赏为基础和环节。艺术创造到艺术社会职能的实现要以艺术欣赏为环节,艺术创造到艺术批评也要以艺术欣赏为基础。对理论著作、科学著作的批评,可直接对其著作的内容进行理性分析,无需经过欣赏的中介,而艺术批评或者说与科学批评相对的审美批评则根本不同。审美批评必须建立在对艺术品审美感受的基础上,必须以艺术欣赏为中介。因为艺术作为美的一种形态,是不能直接用抽象理性把握的,而只能用审美观照和情感体验的艺术欣赏,才能准确、恰当、细致地把握艺术在生动丰富的感性形式中的理性意蕴。失去了艺术欣赏的基础,就失去艺术对象的特征,艺术批评也就变为一般的理论批评,而不成其为审美的批评了。     

心理弹性和社会支持对高校突发事件心理干预机制研究

文章采用领悟社会支持量表、自我心理弹性量表及自编高校突发事件心理适应问卷对1132名大学生进行调查．考察心理弹性、社会支持与突发事件心理适应水平的关系。结果表明心理弹性和社会支持能共同显著预测突发事件心理适应水平，其中心理弹性的影响作用大于社会支持，且心理弹性在社会支持与突发事件心理适应水平之间发挥着部分中介作用。     

改革开放与社会心理

回顾几年来的伟大实践,改革取得了辉煌的成就,但改革也不是一帆风顺的。改革之所以步履艰难,除了因为它是前所未有的伟大事业,必须在探索中前进,宏观改革的配套,具体措施的完善都需要一个过程外,社会心理上的障碍也是一个重要原因。因此,加强对当前社会心理特点的剖析研究,探讨优化社会心理的途径,对于加快和深化改革,具有十分重要的现实意义。一、研究社会心理的重要性当前研究社会心理的重要性,主要可以从以下几方面来认识: 第一,从社会心理的性质来看,它在社会结构中具有不可忽视的地位和作用。社会心理作为一种社会意识,是人们在社会生活中形成的     

社会·人文·审美——关于艺术本体论的思考

本文在对艺术本质说作了历史的考察后提出了艺术本体是由显质(社会质)、隐质(人文质)和基质(审美质)三个层次构成的。艺术本体的三重结构各司其职,又互相渗透、转化而联为一体。艺术的整体机制和功能亦是通过社会、人文和审美三重质因的相互作用予以实现的。作者结合中外古今艺术发展史上的一些艺术现象,对艺术本体“三质”及其结构的流动性进行了具体分析和理论阐述。     

唐君毅对中国艺术精神主体的发掘和发现

唐君毅是标举中国艺术精神的第一人,他着重阐释中国艺术精神的主体层面,认为"游"的精神是西方艺术所缺乏的一种主体精神,进而以中西比较视野加以观照,指出其根源在"感通之德"。他虽未像徐复观一样使中国艺术精神之主体完全呈现,但却有着隐在的表达:虚灵明觉心乃中国艺术精神之主体。唐君毅对中国艺术精神主体的发掘和发现,与徐复观阐释的"中国艺术精神"是有着内在一致性的。这个话题的终极指向,并非艺术,而是精神。     

日本美术的中国文化渊源探微

日本美术是东方美术的重要组成部分,在其历史进程中,更多的是与传入日本的中国文化艺术的融合。从日本的农耕社会和佛教美术时代到浮世绘世俗化时代,中国的佛教文化、唐宋文化对其都产生了巨大的影响。中国文化艺术在诸多方面成为日本艺术在视觉图像和绘画理念的原型。日本艺术家在对中国文化的探究借鉴之"视"中,也在不断地强化着自己的东方思维方式。     

雅致高古 静虚空灵——刘珺作品欣赏

The modern arts system founded by Xu Beihong, Chinese famous master who specialized in painting horses, providedgood opportunities for new generations to follow and study fine arts. Liu Jun is one of the young painters who inherits andpromotes the development of Chinese traditional cultures and arts.     

Streets and stages: urban renewal and the arts after World War II

Lincoln Center for the Performing Arts in Manhattan and the revitalization of the Brooklyn Academy of Music in Brooklyn offer insights into the intersection of arts and urbanization after World War II. This intra-city comparison shows the aggrandizing pull of the international arena in the shaping of Lincoln Center and the arts it featured in contrast to the local focus and debate that transformed how BAM fit into its Brooklyn neighborhood. The performing arts, bound as they are to a moment fused in space and time, reveal the making of place within grandiose formal buildings as well as outside on the streets that surround them—and it is, perhaps, that tensile connection between stages and streets that informs the relevancy of both the institution and the arts it features. At a time when the suburbs pulled more and more people, the arts provided a counterforce in cities, as magnet and stimulus. The arts were used as compensation for the demolition and re-building of a neighborhood in urban renewal, but they also exposed the more complex social dynamics that underpinned the transformation of the mid-20th century American city from a segregated to a multi-faceted place.     

Beyond Women,Children, and Families: Gender,Representation, and Public Funding for the Arts*

Objectives. Research on the impact of female legislators has found that in their voting records women in elective office tend to be more liberal and more supportive of issues of concern to women, children, and families than are men, differences that conform to gender stereotypes held by voters. This article examines another well‐established gender stereotype that is not linked to the traditional concerns of women as conventionally defined by scholars: that women in public office will be more supportive of the arts. Method. The 40 votes taken on arts legislation in the U.S. House of Representatives, 1983–2002, are examined using negative binomial regression in a model that includes district and personal characteristics. Results. Democratic Party membership and support, citizen ideology, urban residence, and gender are significant factors in explaining support for public funding for the arts. Female representatives are more likely than their male colleagues to support the arts, a finding that primarily reflects the greater support of Republican women for the arts in comparison with their male counterparts. Conclusion. This study suggests that substantive representation of women by female elected officials may extend to more policy issues than previous research has documented. Research on issues that are recognized as gendered (e.g., arts policy) but are not traditionally defined as women's issues is an area for further exploration.     

民间艺术原生性研究的回顾与思考

民间艺术的原生性是民间艺术有别于其他艺术的基本特征,是＂民艺学＂的重要理论基石。在国内,张道一先生和潘鲁生教授对这一课题作了较为深入的研究,孙家正、杨先让、靳之林、吕品田等专家学者亦皆有所论述。在国外,法国艺术家让·迪比费对于原生艺术（或译＂生涩艺术＂）作了较长时间的收集与探索。既往的研究虽然取得了一定成绩,但还没有充分认识到这一理论命题的重要价值,因此,亟待开展系统的专题研究。把原始艺术、儿童艺术、民间艺术三种艺术打通互证,将是未来研究民间艺术原生性的主要方法。     

'You'd Be Good at That': Gender Patterns in Parent-Child Talk about Courses

This study examined the parent-child dyad as a context in which children's gender-stereotyped course selections are reinforced. Fifty four children from two age groups ( M s  =  10.67 and 12.71 years) and their mothers and fathers selected courses for when children reached secondary school. Afterwards, children and parents discussed their decisions. Parents of sons selected fewer foreign language courses than mathematics, language arts or science courses, whereas parents of daughters selected fewer science and foreign language than mathematics or language arts courses. Girls selected fewer science than language arts courses, whereas boys selected fewer foreign language than mathematics or science courses. Although parents' course selections followed gender-stereotyped patterns for language arts and science, their discouraging comments were not confined to cross-gender-stereotyped domains. Instead, parents made more discouraging comments in general to daughters than to sons. Counter to the hypotheses, daughters made more encouraging comments about science courses than did sons while talking to mothers. The findings suggest that parents and children may show gender-differentiated preferences for children before children are old enough to make course decisions.     

革命—路线—范式——从人体教学相关的三个事件探讨美术教育“西化”模式的演进

人体艺术作为近代中国现代美术从西方引进的艺术形态,通过美术院校的教育传播开去,人体课在中国教学中的演进,对应着中国绘画现代化的曲折进程。从20世纪美术教育的一桩官司、二次批示、一场展览等三场与人体教学有关的事件切入,可以揭示人体教学发展的基本轨迹模式:革命—路线—范式,同时,这种"西化"模式也对应着美术演进的内在轨迹,文章还展望以人体教学为代表的美术教育,能走出"器用"型的单向之维。     

试论北京市演艺旅游的产业化发展

演艺旅游的发展使得演艺业获得了新的发展机遇,也使旅游业的内容得以丰富。本文对演艺旅游从定义和特征进行了界定,并通过态势分析的方法,对北京市演艺旅游产业的发展优势与劣势、机遇与挑战进行了分析,明确了北京市发展演艺旅游产业的必要性和可行性。在此基础上,尝试提出了北京市演艺旅游产业的定位及发展战略。     

Sexual Orientation and Demand for the Arts*

Objective. We establish and try to explain a gay affinity for the arts. Methods. Using logit analysis on the General Social Survey, we test whether demographics, creativity, gender nonconformity, and sexual repression can explain differences between lesbians, gay men, and bisexuals (LGBs) and others in attendance at art museums, classical music concerts, and dance performances. Results. LGBs' higher education and probability of being childless city‐dwellers explain one‐third of the substantial attendance differences. However, LGBs do not demonstrate higher innate creativity through greater amateur production of art; gay men's affinity for the arts appears no stronger than lesbians', casting doubt on the gender nonconformity explanation; and LGB‐straight attendance differences are as large among young as older respondents, despite supposed declines in the special functions of arts attendance since gay liberation. Conclusions. LGBs are much more likely to attend the arts than demographically similar heterosexuals, but we find little support for three conventional explanations.