论马克思对"美"的历史地领会

在马克思语境中,美学本质上是一门历史的科学。从某种意义上说,领会了美得以展开的历史条件和历史表征本身,也就理解了美的本质。私有制和旧式分工导致的人的异化,使人的存在本身丧失了审美的性质,审美活动沦为职业性的制造和业余性的消费。私有制和旧式分工的扬弃所导致的人的历史解放,使审美获得了存在论含义,进而使人诗意地栖居于世能够在类的层面上获得真实的历史意蕴。     

论钱穆的美学之思

钱穆以历史和国学为径,阐发出了独特、精微的传统美学与艺术精神：贵族文化与审美精神——中国古代早期艺术与审美的一个视角;抽离现实,存神过化——艺术的最高境界;欣赏与刺激——人生的艺术化生存;园亭化和复式化与堡垒化和单式化——中西艺术之差异。钱穆思想的美学之维为拓宽中国现代美学研究的路径和思路提供了一条有益的方向,具有重要的意义。     

碑林书法的文化艺术价值及审美意蕴研究——以湖南永州浯溪碑林为例

浯溪碑林独特的艺术特色以及各碑所处历史时期的艺术价值、文学价值和审美价值．对中国书法艺术发展作出了杰出贡献。浯溪碑林各个时代的书法碑刻作品,以及历代书学家、书法家对浯溪碑林的评价、赞誉,印证了浯溪碑刻在书法艺术史中占有重要的历史地位。     

Poor theory and the art of plastic pollution in Nigeria: relational aesthetics,human ecology,and “good housekeeping”

ABSTRACT

The art of plastic pollution from Nigeria marks more than an environmental consciousness. It also marks an ecological consciousness based on contemporary plastic-waste artists’ commitment to advocating the recovery of traditions of repurposing materials and of skilled craft work. These contemporary artists are proposing that Nigeria negotiate its own modern identity by recuperating creative traditions of object making that combine the values of utility and of artistry in the practice of craft. The emphasis on plastic specifically as an artistic medium highlights the clash of what eco-artist Bright Eke calls a “bottled life” – entrapped, wasteful, unhealthy, ego-centric – with a traditional ethos of interconnectedness and eco-consciousness. Drawing together data from personal interviews, filmed documentaries, and museum talks, this essay argues that the current generation of artists is using salvaged plastic as a primary medium to rethink Nigerian ecology in terms of “good housekeeping” – a specifically Nigerian oikos.     

The regime’s worst nightmare: the mobilization of citizen democracy. A study of Podemos’ (aesthetic) populism and the production of affect in political discourse

In spite of not even being officially registered three months before the European Parliament Elections of 2014, the Spanish upstart party Podemos captured almost 8 percent of the vote, while barely nine months after its formation, in October 2014, social surveys were citing the party as the leading force in national politics. The overall purpose of this paper is to explore how Podemos’ aesthetic and its discursive strategies are being used to mobilize affect and create collective identities in the battle for political hegemony in Spain. I argue in dialogue with Laclau [2005. On populist reason. London: Verso], Errejón and Mouffe [2016. Podemos: in the name of the people. London: Lawrence & Wishart] that: (a) the articulation of a new political grammar and discursive conflicts in which the popular majority can identify themselves as subjects in opposition to an adversary ‘Other’ plays a central role in constructing ‘the people’ as a new form of political culture, especially in times of crisis whereby; (b) the notion of populism transgresses categories such as ‘oversimplification’ and/or ‘demagogy’ and can also be regarded in terms of exhibiting sensitivity to popular demands and participatory democracy. My findings show that welfare politics are not necessarily best communicated through traditional left-wing symbols, due to the left’s popular link with communism and political defeat; these having been repeatedly recounted by the media/culture industry throughout history. Indeed, many may share the idea of protecting a nation’s common social services without wanting to position themselves within a Marxist (leftist) framework. I point to the representative crisis as an affective crisis where there is a potential affective space to be filled. From here, I stress that resistance movements seem to need to learn the current media logic of conflict and recognition in order to mediate affect and produce identification.     

现代书法与楚辞

现代书法的创作思想、艺术表现手法受楚辞影响,在神韵上与楚辞相契合,其艺术精神是一脉相承的。现代书法作者可通过研究楚辞,汲取其精髓,以丰富现代书法的创作。     

京派文学意象的审美特征

京派文学意象是中国传统文学向现代文学转换过程中产生的特殊的文学现象,具有特殊的审美价值。京派意象是中国传统诗艺与西方象征主义、意象派等诗学思潮相融合的产物。突破中国古典意象长期积淀的原型性象征模式,克服西方意象有象无意、意与象相剥离的缺点,成为京派作家对世界万物带有强烈的个体生命色彩的审美途径,体现着现代作家对文学本质更为深入的感悟。另外,京派注重意象在诗歌以外文学领域中的运用,促成了现代文学中各种文体间的相互融合,尤其是诗歌、小说、散文之间,从而推进了各种文体创作的成熟和发展。这也是京派作家对现代文学最突出的贡献。     

共同体美学视域下的中国电影跨媒体叙事

近年来,中国电影研究领域涌现出了“共同体美学”理论这一重要成果,其作为一种强调协作、互动和共享的理念,为跨媒体叙事提供了深厚的理论基础和实践指导。“跨媒体叙事”理论与“共同体美学”理论交相呼应,一致强调整体性、互动性和共同性,但也呼唤独立性、个体性和差异性。将中国电影的跨媒体叙事置于“共同体美学”的视野下,从“叙事共同体”“想象共同体”和“参与共同体”三个方面进行概括分析,阐述了中国电影跨媒体叙事的策略取向和发展路径。这些策略取向包括以故事世界构建为叙事表征、将故事消费视为产业基础、以泛娱乐的参与文化为传播策略等。这不仅反映了跨媒体叙事的可实践价值,也凸显了“中国经验”在共同体美学中的指导意义。通过对共同体美学和跨媒体叙事的研究,揭示了中国电影跨媒体叙事的发展趋势,并呼吁中国电影回归本土实践和需求,以应对新时代用户对故事消费的高追求,实现共赢和共享的目标。     

绿化的事业--论音乐素质教育及其教育方法

文章通过对音乐素质教育的目标和任务、功能和意义以及音乐素质教育的内容和方法等问题的论述,指出音乐素质教育是面向大学生乃至全社会的绿化事业,为了达到提高全民族音乐素质的目的,提出了提高音乐素质教育质量的方法和途径。     

身体-主体的缺席与实践美学和后实践美学的共同欠缺

作为实在的活动,实践的承担者只能是身体-主体。离开身体-主体来谈论实践,就无法敞开其实在品格,以实践为原初范畴的美学建构便会处于悬空状态。从这个角度看,实践美学的最大欠缺是对身体-主体的忽略。忽略身体而又强调实践的意义这种自我矛盾的做法不但造就了一系列逻辑悖论,而且使实践美学无法回答许多根本性的美学问题。后实践美学的倡导者虽然力图超越实践美学,但同样未意识到身体-主体的意义,因而也将实践美学的逻辑欠缺带到自身的理论建构中。只有敞开了实践、生存、生命对身体-主体的原始归属关系,我们才能超越实践美学和后实践美学的共同欠缺,建构出圆融的、具有独创性的、富有解释力的汉语美学体系。