论《安提戈涅》中的“酒神”意象

在希腊传说中,酒神狄俄尼索斯的出生有多种说法。在俄耳甫斯宗教传说中,他的出生过程赋予了酒神本身关于生命象征的双重性。人类的产生与酒神的身世息息相关,因此人类也具有双重的本性。本文将根据酒神关于生命象征的双重性和人类的双重本性来分析《安提戈涅》中的"酒神"意象。     

生命哲学的别样思索——龚学明短诗《白色的江鸟在冰河上飞》细读

龚学明的诗歌大都反映现代人的迷茫、无助、空虚和希冀,包含着对生命哲学的别样顿悟。他的短诗《白色的江鸟在冰河上飞》通过白色江鸟这个意象表达他对生命的沉思,悖论构成了这首诗的基础,诗歌把相互矛盾的意象组合在一起,折射出自然背后或发生在自然之中的生命现象及其象征内涵。     

莫言作品的色彩象征

莫言小说善于运用色彩,描写感觉,他借用超常的色彩搭配和色彩变异来传递作家的思想情感、审美情趣,以色彩透视出其对生命、生活、世态万象的奇特感悟。莫言早期的两部作品《红高粱》、《红蝗》中色彩丰富,特别是"红"作为转达作品主题和作家感情的色彩意象大放光彩。本文试论莫言作品中色彩词所承载的象征和深刻意蕴,探究莫言的创作动机。     

意象油画及油画民族化思考

由于油画艺术起源于西方,虽然我国一直也在油画艺术方面做了深入的探讨,但油画艺术仍是归属于西方的绘画体系。本文主要从"意象油画"的形成描述了意向油画的由来和发展。然后就意向油画与中国文化关系,对"油画民族"这一概念进行思考:油画民族化乃是出于对油画技巧世界化的一种保护心理,它和意象油画本身的发展并没有很强的关联。因此我们不能将中国油画史笼统的看作是意象化的历史。     

唐诗与十四行诗中相通意象及其原型探微

在人类文明长河中,诗歌作为最古老的文学形式,以凝练的语言、别致的声律和丰富的意象满足人们的社会情感需求。作为东西方诗坛中的两枚瑰宝,唐诗与十四行诗的研究成为研究者探讨的永恒话题。本文将通过对比唐诗与十四行诗中相通的自然意象,探究隐含在两种艺术形式后的隐喻和原型模式,从而揭示出人类相同的心理体验。     

论古诗词中的菊花意象

菊花是古典诗词中的传统意象，具有丰富的文字内涵。古代的文人不仅用它来象征自我淡泊，坚贞的性情，而且书写青春易逝、人生苦短的悲叹。此外，菊花特殊的无物性价值，往往折射出古人对生命的珍惜和对生活的热爱。     

屠格涅夫小说中的景物形象塑造

屠格涅夫作为一位伟大的现实主义文学大师,他小说中塑造出具有永恒生命的景物形象。屠格涅夫描写了具有时代色彩的俄国风景画,这些景物形象或者预示着主人公爱情的出现,或者象征着作家及主人公对幸福的期望,或者成为人生爱恨离合的重要场所。     

中国现实主义绘画艺术的创作特征

中国的现实主义绘画包含了诸多内容,有社会人文、中国的历史事件、文学著作等,通过绘画,反映了中国的哲学思想和民族精神,也体现出了深厚的文化内涵,展现出了科学真理。坚持中国艺术的主体价值,把中国的艺术推向世界舞台,中国的现实主义绘画艺术不仅对我国的绘画艺术具有非常重要的意义,而且对于中国文化的推广具有非常重要的价值,他的生命力是永恒的。一直以来,我国都遵循"西为中用"的原则,我国吸取其他国家的艺术精华,然后丰富我国的艺术,创作出更有价值的作品。     

论中国表现性油画创作教学中对审美意象的追求

意象,作为中国古典美学核心范畴的概念词,美学辞典中都有明确的界定.它是指人在头脑中将对象的感性形象同自己的情意状态相融合而形成的心象,是审美感知的物象同主体审美情感的统一.形成审美意象的心理因素有感知、思维、想象、联想和情感.艺术家运用一定的物质材料和艺术技巧使自己的头脑中的审美意象物态化,就产生了供他人审美的艺术形象.意象在实际运用中.是包含有中国传统艺术所追求的"象外之旨"、"情动为志"、"意蕴感知",涉及到儒道精神与美学的关系问题.     

浅析英诗《雪夜林边小驻》的自我觉识

《雪夜林边小驻》（Stopping by Woods on a Snowy Evening）是罗伯特·弗罗斯特最经典的诗歌之一。本文将通过象征意象来解释旅者的自我觉识，并分析和阐释诗歌中旅者内心如何挣扎于希冀和现实之中，最终又做出符合生命责任的抉择。通过本文的分析，希望能让我们更深入地认识弗罗斯特的思想和生命感悟。     

Byzantine Art

The art of the Byzantine period can be conceived as a religious art. It is distinctive enough to have spawned our everyday use of the word "icon" as something above and beyond a mere portrait. Byzantine art spans more than 1,000 years. But it should not be regarded as merely religious art. Constantinople and other cities were full of buildings and objects that we would describe as "secular". And the art of Byzantium has various kinds of forms, such as: architecture, painting and mosaic.     

The social life of images

This paper presents a theoretical and methodological approach to analysing images in public space as part of a transformative visual dialogue in everyday life. Images are conceptualised through the lens of sociocultural psychology and analytically approached through the metaphor of ‘the social life of images,’ by which the life cycle of images is followed as they respond and borrow from one another in a continuous dialogue. The analytical framework starts by situating the image and identifying its spatial and temporal contexts. Then, it considers the social actors influencing the image’s social life and the different stages in an image’s trajectory. Leading to an analysis of the political dynamics of an image and its potential symbolic power to influence the public discourse. Examples from street art, online, and news images will be used to illustrate the analytical approach.     

The desire for space: stains in Zoltan Kluger’s institutional photography

The article studies the construction of Zionist space in Kluger’s institutional photographs in an attempt to understand the ideological desire for space in Zionist imagistic propaganda. The analysis employs Lacanian ‘stains’ as well as strategies of art interpretation to suggest that behind the image of Sisyphean work of men toiling the land stands the Zionist ‘law’ (in contrast to the female jouissance) which comes to signify the Jewish return to history after the fall from divine grace. This paper demonstrates by what means Kluger’s photographs echoed and propagated the Zionist unconscious based on western and Christian desire for eternity and redemption of the land, even if it meant sacrificing the sons in exchange for eternal life and the return to grace.     

阿拉伯媒体中的中国形象分析

作为软实力的重要组成部分,良好的国家形象有助于促进国际交流合作和发挥国际影响力,实现自身发展利益。基于此,本文选择2010年1月至2011年1月《金字塔报》、《利雅得报》和半岛电视台这三家阿拉伯世界具有代表性的媒体,以"中国崛起"和"人民币汇率"问题为考察点,解读中国在阿拉伯媒体中的国家形象及其形成过程,并阐述其形成的原因,最后提出了中国改善和加强国家形象构建的六点建议。     

Symbolic Interaction as Music: The Esthetic Constitution of Meaning,Self, and Society

Analytical frameworks such as dramaturgy and narrative analysis are respectively grounded in metaphors of life as theater and life as a story. In related fashion, in this article the authors argue for the creation of another metaphor: life as music. Viewing selfhood and symbolic interaction as music sensitizes us to observe and understand an important but much too neglected dimension of social life: the esthetic. Drawing from the pragmatist philosophy of John Dewey, the authors argue that the realm of the esthetic should not be confined to museums and art galleries, for the intentional perception of beauty constitutes the very foundation of individuals' embodied experiences of their lifeworlds. From within our metaphor of life as music we conceptualize beauty as the diverse rhythms, melodies, and harmonies contributing to the constitution of both subjectivity and intersubjectivity.     

Sketching as Autoethnographic Practice

This article is an “autoethnographic sketch” that “draws out” substantive observations about the “sketchy” character of concepts such as identity, theory, self, and society. Using vignettes from my experiences as an art student, post‐structuralist theory, and symbolic interaction, I render a brief sketch of how autoethnography and other representations of self can be conveyed in a layered process. The materials in each vignette may not seem to be consistent with or related to the other layers, but as each layer is superimposed on the others, an image or impression emerges from the whole. By presenting these materials in this way, the format or metaphor of sketching offers autoethnographers the possibility of doing analysis and evocation, while leaving open other interpretive possibilities. Artificial closure is not imposed on the final product. I also briefly sketch how self and society exist sous rature and in différance to each other, thus making autoethnographic sketching a useful tool for symbolic interactionists and other observers of society.     

An indolence of the heart

Walter Benjamin’s understanding of allegory as developed in The Origin of German Tragic Drama, and whose genius is Dürer’s image of winged melancholy, stands in diametric opposition to the symbolic unity proposed in Michael Fried’s emblematic modernist essay “Art and Objecthood”. The complex cultural tensions and expectations defined by these texts—as well as the complementary terms symbol and allegory—can be understood as a function of the category of time, and it is this temporal problematic that this essay situates with reference to the contingent art forms of the late 1960s and early 1970s.     

Helen Keller: rethinking the problematic icon

More than 30 years after her death, Helen Keller is still known internationally as the little deaf blind girl, the 'miracle child' who triumphed over adversity. However, behind the image, hidden from the public gaze, was a flesh-and-blood woman, writer and radical activist, suffragette and Socialist. She was a woman who lived to old age, yet is fixed in the public imagination as an eternal child. This paper charts the creation of Keller's popular image and enduring iconic status, analysing their purpose and the implications they hold for us as disabled people. It then examines the truth of her life, revealing how contemporary are the issues which determined it. Finally, it explores the value of retelling her biography and the relevance it holds in the building of disability culture.     

Image and Symbolic Leadership: Using Focus Group Research to Bridge the Gaps

Through an exploration of the scholarly and professional literature, this article investigates the concepts of symbolic leadership and organizational image. A critical analysis of the literature establishes that symbolic leaders, especially chief executive officers (CEOs), may operate either symmetrically or asymmetrically. As leader and spokesperson, the CEO personifies the company to its key constituencies. Effective leaders give people power. This empowerment of strategic publics, both external and internal, suggests a symmetrical world view. It replaces the asymmetrical assumptions more characteristic of the autocratic leadership espoused in the management theory of the 1950s. A modest case study of focus group research illustrates the role of public relations in exploring, defining, and communicating image. This counseling or managerial role is critical in helping the organization be, rather than seeming to be—a key philosophical tenet of contemporary public relations. The theoretical frame for this article is Dervin's (1983, 1990, 1991) gap perspective, which suggests that such discontinuities are inherent in human interaction. Because focus groups also may provide insight into how to reconcile any gaps employees or other publics perceive between the image and the reality of the organization, it suggests more of a symmetrical than asymmetrical model.

Senior management's role is to personify the organization externally to customers & others—but also internally to the "family." (pr reporter, 1991)     

Extending the Bounds of Interpretive Inquiry: Toward a Performance Approach to Organizational Studies

In recent years, interpretive organizational communication scholars have utilized a variety of methodologies in their attempts to study the process of communication occurring within organizations. Underlying each of these assorted methods, however, is the desire to interrogate the meaning and symbols of organizational life. Regardless of their methodological preference, interpretive organizational scholars of all casts seek to understand the symbolic structures that constitute and reflect meanings of the human activity within their individual objects of study. A survey of interpretive organizational literature reveals that, although many contemporary organizational theorists have advocated the study of organizations as sites of cultural enactments, few organizational communication scholars to date have advanced the use of performance through enactment as a methodology for examining organizational activity. This essay seeks to do just that. It asserts that performance, when used in combination with other interpretive methods, is a useful research methodology, which enables researchers and organizational members alike both to know and to show the symbolic structures constituted by and reflected in their actions and practices.