跨学科视域下诗学通感隐喻的哲学基础及审美特征

象征主义认为客观世界不是无生命的对象。它特别关注人与其他生命的关系,寻求人与自然的融合。通感隐喻被象征派诗人发挥到登峰造极的程度,成为其语言风格的标志。象征主义对通感隐喻为何如此青睐?本文运用文学批评和认知语言学理论,通过分析象征派诗歌中通感隐喻的认知机制、哲学基础及审美特征,阐释其中的缘由。     

《谈美书简》是“现代中国美学经典”吗——论朱光潜先生《谈美书简》的学理性缺失

对《谈美书简》的学理分析,主要针对其论证过程而不是那些充满着争议的学术观点,也只是举隅而非全面。不过,从中仍能看出该书确实存在着学理性缺失的问题。假如再考虑到它本身所固有的时代局限性,则可知不宜将其当成"现代中国美学经典",更不能称之为"中国美学第一书"。客观地讲,《谈美书简》里有许多地方闪烁着美学思想的火花,也有朱先生对社会对人生的真知灼见,但瑜不掩瑕,其中的不足理当被揭示、厘清。     

从崇美走向尚韵——中国艺术美意识的历史嬗变

通过对中国艺术美意识历史嬗变的再思考,有助于从艺术观念史的角度把握中国人美感意识转向的大致脉络及中国人美感形态的特点,有助于研究中国美学的特点和中国美学史的发展规律。中国艺术美意识大体以中唐为界点,由崇美走向尚韵,主要表现在艺术目的与功能、艺术表现形式以及审美感知方式的转变上。     

论哈贝马斯关于审美领域规范性基础的阐释——兼及文艺学规范性之反思

检视哈贝马斯关于审美领域规范性基础的阐释,进而反思文艺学规范性这一知识学得以展开的可能性.审美领域在现代拥有自身的规范性基础,因此可以用形式语用学加以阐释,但是它本身所具有的复杂性、模糊性和悖论性,使得其内在地违背普通语言的惯例,逃脱日常言语行为的以言行事力量之掌控.因而立足于现代审美领域的文艺学既拘宥于话语的价值合理性,又要应对"无言之美"的微妙灵韵,文艺学规范性基础的思考理应聚焦于这两者之间的连接点.     

审美泛化的模型构建与解析

在当代随着审美范围的日益扩大,人们的审美意识及审美活动已经融入到了现实生活,审美泛化即是伴随着人们日益提高的审美意识而产生的。本文从美学角度对审美泛化的运动过程进行了初步解构,并进一步构建了审美泛化全息运动模型。审美泛化正是通过这样的运动过程,才把艺术与生活的运动关系完整的呈现出来。     

Popular music and urban regeneration: The music industries of Merseyside

In this article I address the origins of America's national parks, particularly as they figure in the environmentalist discourse surrounding the institution of Yosemite Valley as a public park. Although technically speaking Yosemite did not become a national park until 1890, its cession to the State of California in 1864 provides an important cultural site for the emergence of environmentalism as part of a broader concern with the relations between aesthetic, social and natural agency. In mapping out these relations in Frederick Law Olmsted's 1865 report on the management of Yosemite, I claim that the preservation of Yosemite reproduces nature as a public park in which human agency can be simultaneously produced and elided by means of the aesthetic agency of nature. I read Olmsted's report as a discursive site on which we can trace the structural parallels between the preservation of Yosemite and several related cultural practices in which the origins of American environmentalism are embedded. I also read it as sketching out the configurations of human and natural agency within which these parallel practices are articulated.

My study operates from the assumption that science and technology need to be understood not simply by explaining how they are socially or culturally constructed, but also by looking at how certain fundamental ideas of metaphors (like natural agency or the reproduction of nature) are worked out at the same historical moment in different discursive practices. In taking up the idea of America as it both defines and is defined by the network of relations among science, technology and culture, I outline certain myths of American environmentalist origins as played out across a number of diverse and heterogeneous discourses and technologies of representation and reproduction. I hope also to illuminate the way in which American cultural origins are simultaneously constructed and destabilized through the act of reproducing nature.     

《勒俄特依》中火、水文化反映出的生命美学意识

《勒俄特依》是彝族文化中的创世典籍,具有极高的文化价值,其中蕴含了丰富的哲学思想。凉山彝族人民居住在山高谷深,水多流激的四川西南地区,他们的《勒俄特依》鲜明地反映出了符合这一地域特征的独特的生命美学意识。他们认为水是万物之源,火是人类生命觉醒过程中的第一次尝试,生命的诞生是一个漫长的进化过程。火与水文化作为这一创世典籍中不断交互出现的元素,反映了凉山彝族人民充满抗争感的生命美学意识,而这一抗争不是单独的抵抗,是相生相克的辩证思想．是以德为生、以生为美的生命美学意识。     

城市美学：经验、理论与方法?

学科意义上的城市美学既不从属于城市规划,也不等同于景观设计,它以城市及主体的审美意识和全部活动状态为研究对象,其通过对主客分离的审美模式的突破来完成对传统美学的超越,而从“艺术哲学”走向“城市美学”意味着传统“如画性”的审美模式转向当下“多感官体验”的审美模式。     

《野草》:孤寂与绝望的二重变奏

《野草》是鲁迅全部生命哲学的诗话抒写,是反映鲁迅意志和"野草精神"的独特诗学文本。鲁迅的人格与意志、黑暗与虚无、绝望与孤独的情绪都得到了象征性的隐喻书写。《野草》所反映的鲁迅内心深处的孤寂之感和绝望意识,不仅仅是作者生命个体独自一人的,同时也是整个时代广阔而深沉的精神现象———坚持追寻精神的独立和自由意志,坚定地反抗现实层或思想层的绝望。孤寂与绝望的美学蕴藉,是生命个体独立桀骜的不屈品格,是号召千千万战士砥砺坚强的人格意志为精神之自由独立而奋勇抗争。     

引领大众审美需求的主持人语言刍议

主持人语言应从引领大众审美需求的社会职责出发,把握好艺术美与平实美之间的平衡。不仅要清晰准确、悦耳动听、传神凝练、弘扬正气,还要充满人文关怀,体现社会理想,在民族传承与现代创新之间建立起不可或缺的时空隧道,成为舞动在生存空间、规范空间和审美空间的优美旋律。