论中国早期“西部电影”的独特审美意蕴

"中国西部电影"的称呼是对美国西部片的借用,但在其具体的审美蕴涵上却是完全中国化的,它具有-种"历史寓言"的美学本质,富于历史的厚重、沧桑感和精英意识的主观表现性.     

海德格尔美学思想成因再认识

海德格尔美学思想的形成除了有其哲学思想自身的原因外,更有其对西方“艺术”思想史自身缺陷反省的原因。其中,尼采对西方传统艺术思想的批判是引发海德格尔艺术之思的一个重要环节。认清这一点,是理解海德格尔美学思想“诗性”气质的关键。     

贾平凹小说神秘性的审美探究

贾平凹在20世纪80年代以来的小说创作中所呈现的神秘性的特点潜藏着丰富的内涵,其中所蕴涵的神秘之美非常值得我们去研究和探寻。他的神秘性小说深深地植根于带有神秘色彩的乡土文化之中,其创作有着深刻的历史渊源和文化渊源。贾平凹的小说世界是由形形色色的神话传说和灵异故事编织而成的,这种神秘主义的小说创作,是对神秘性价值观的一个突破,创造了独特的清灵而拙朴、神秘而真实的意境,充分地体现出作者寻找通往自然完美之路的创作追求。     

“世界文学”与非西方世界

世界文学在西方的实践表明,它实际上排除了现代时期以前的写作文本以及英语之外的写作文本。思考世界文学时,秉持一种道德的以及理论理想化的包容性世界文学观念是必要的。这样的世界文学观念将以一种系统的方式把非西方世界的文学包括在内。如何以一种系统的方式把非西方文学包括在世界文学中,可以考虑如下三种富有成效的方法。其一,以印度、中国、日本为中心或其他非西方的观点去看待世界文学;其二,通过东西方诗学的比较研究来看待世界文学;其三,在东方学习西方、西方学习东方的过程中来看待审美循环的结合点。这种世界文学观念将不仅更加准确地反映世界的组成,并且还将以一种更加平等的方式看待世界。     

Making sense of the senses across species boundaries: designing the Animal Senses gallery at National Museums Scotland

As one of a suite of natural science galleries in the National Museum of Scotland, Animal Senses presents a comprehensive overview of how animals have evolved senses as they have adapted to different ecological niches in order to find food or avoid predation. Using different sensory channels, they also have evolved means of communication to attract mates, deter rivals, and remain hidden from predators and prey. Some of the most extraordinary examples of evolution are those which mimic the appearance of another unrelated species or some feature of the environment such as a thorn on a bush or a piece of coral. New taxidermy and models, engaging text presented hierarchically, and fun interactives were developed specifically for this gallery in order to present an up-to-date review of senses and communication. However, its real strength is the wide array of real specimens and life-size models which allow visitors to see what these animals really look like and how big they are, experiences which cannot be emulated by books or electronic media. By taking a thematic approach, we have created an unrivalled opportunity to compare animals from different taxonomic groups to see how they have solved the problems of life by evolving similar structures or completely different ones in order to find food, avoid being eaten, navigate, find mates and deceive rivals and predators.     

Worker Expectations in Group Work with the Frail Elderly: Modifying the Models for a Better Fit

Addressing the needs of one segment of the older population of America, the frail elderly, this paper defines this group. Specific modifications of more traditional group work practice that are required by the nature of their needs and limitations are presented.     

Why Aesthetic Patterns Matter: Art and a “Qualitative” Social Theory

This paper argues that an explanation of the role of aesthetic patterning in human action needs to be part of any “qualitative” social theory. It urges the social sciences to move beyond contextualism and to see art as visual, acoustic and other media that lead to heightened sensory perception and the coordination of feelings through symbols. The article surveys the argument that art provides a basic model of how the self learns to interact with external environments; and the complementary thesis that art could be seen as integral to the emergence of systems of human knowledge, communication and economy. Ornamentation and stylization are advanced as two concrete devices through which human attention is captured and experience is ordered through aesthetic patterns. The conclusion is drawn that art offers the social sciences a meaningful account of the perceptual or “qualitative” dimensions of social interactions; and that this is much needed today.     

艺术摄影审美主体论

文章从审美创造的角度,重点分析论述了作为审美创造主体的作者与客观对象二者之间的关系及其亲和、渗透与转变的审美心理和生成机制,强调了审美主体对于摄影艺术创造的重要性。     

生态、城市与救赎

关是在人的实践活动中形成的。美的形成通过实践却对实践的功利性有一定程度的超越。生态美学强调的是人与自然的共生关系。实践美学是在哲学美学中引入实践层面的思考,其投射到城市建设上就是：一座城市要有个性才是美。城市美的根源是多样的,但最终还是由城市中人的主体创造精神来决定。当代美学的救赎使命之一,就是通过“拆墙”来打破美学的“围城”,其在实践中体现为生态关学,这是哲学、伦理学和美学都背离了生态的原则之后尝试实现的一种美学回归。     

Leerstände: A Photo Project

ABSTRACT

Contrary to previous belief, there are now known to be substantial numbers of household inventories for nineteenth-century England and Wales. This article discusses what, and how, this “new” source can add to our understanding of the domestic cultures of the period. It describes how these inventories, read through the lens of a material-culture approach in both aggregate and interpretive analysis, not only offer unprecedented grounded evidence for how a sample of “unremarkable” Victorians laid out and equipped the spaces of their homes but also bring to light stories of intention, choice, and change in the furnishing, equipment, use, and meaning of domestic spaces.