宫体诗与花间词意象陈列比较

宫体诗使用意象如同素描,画面疏朗但韵味不足;花间词使用意象,如同工笔画,在有限的篇幅内,通过意象的铺排,创造深邃的意境。意象的疏朗或绵密与风格的清丽或绮靡没有直接关系。     

From Collective Memory to Collective Imagination: Time,Place, and Urban Redevelopment

This article is about a place that does not exist, yet. It is about residents' perceptions of redevelopment plans involving the reconstruction of a defunct neighborhood firehouse. Interviews revealed the residents' “collective imagination” as they actively envisioned potential future outcomes for a firehouse‐turned–community center. When asked about the needs of the community, interviewees discussed the current conditions of their neighborhood (the present), its history (the past), and how they would like to see it change (the future). This corresponds well with George Herbert Mead's ideas about temporality. I argue that connecting the identity of a place to a sociological understanding of time (especially Mead's) is a necessary step for gaining a better understanding of the subjective side of urbanization and ultimately creating a better vernacular knowledge base for urban redevelopment plans.     

论莎士比亚戏剧的艺术成就

近年来,莎士比亚的戏剧的研究、莎士比亚电影的摄制和上演,在世界各国热闹非凡。通过对莎士比亚作品人物形象和艺术特色的分析,论述了莎士比亚戏剧的艺术成就。     

民国时期的月份牌广告画——从消费主义到中国现代性想象

以民国时期的月份牌广告画为研究对象,对月份牌广告画的发展史进行梳理,并从其内容嬗变、画中人物与商品的关系和推销理念等角度进行探讨,发现民国时期月份牌广告画融合了中国传统文化与西方现代文明,展现了前资本主义时期中国社会东西方文化冲突、观念的碰撞、思想的互渗及多种价值观并行的状貌.它不仅推销了一种现代消费主义理念,而且比较清晰地勾勒出了20世纪初期中国社会关于中国现代性想象的图景.     

筝声筝情筝滋味——古筝艺术魅力浅谈

古筝是我国文化艺术传承的历史见证,也是传统艺术创新发展的成功范例。筝声筝情自有筝滋味,作为文化遗存的艺术表达样式,筝声之名可以通古达今,其本身就饱含着中国故事和历史情感的元素。在面对现代转型的当下,古筝艺术的魅力在于传播一直恪守着文化传承与音乐传统要素创新的发展方向。古筝这朵正在盛开的艺术奇葩,展现出现代筝家筝人注重艺术品位、创作艺术精品、谱写时代风貌的艺术情愫与浓郁情怀。     

审美（艺术）直觉：方法与实践

在美学家眼中,＂审美直觉＂是创作与欣赏的根本方法或能力,它关涉思维、行动和创造,也关系到自由和超越。对克罗齐而言,直觉即表现,直觉就是美,而对柏格森来说,直觉即绵延,直觉即方法——普鲁斯特在艺术实践中进一步确证了这一点。直觉甚至本身就是意识的行动,它能打开一片自由的空间或创造一个无限世界,也能给我们带来真正美的感悟与体验。马利坦认为,＂诗性直觉＂即创造性审美直觉。审美直觉就是创造性直觉,诗性直觉就是审美直觉,而直觉就是创造。审美直觉既是审美情感的发动,也是促使真善美贯通的中枢。审美直觉的起点与归宿都是自由,而它所带来的则是一种超越性的艺术创造与审美体验。     

Fearless Trembling: A Leap of Faith into the Devil's Frying Pan

ABSTRACT

Phenomenologically and reflexively influenced, this paper investigates an experiential conception of the imagination through an exploration of an extreme bodily act. Foremost, it sets the scene for a conceptual consideration of dangerous practices such as cliff jumping. This potentially pushes the level in which we can reflect upon such a thing as an existential or embodied imagination. Here modernity's leveling of the docile body is challenged. Hence, in focusing on those sub-cultural practices that involve the extreme use of landscape, I propose an alternative scenario in which to consider the creativity of the body. Such a framework situates hazardous activities beyond the level of much contemporary thinking within the anthropology of sport or the sociology of risk, to a more far-reaching—perhaps “extremist” position—where they come across as existentially poignant, performative acts of the social imagination.     

唐朝与罗马的艺术交流

中国与罗马间的艺术交流源远流长,早在西汉,双方间就有了交流。降及唐代,双方的艺术交流更加广泛,涉及乐舞、百戏、绘画、雕塑等领域。在乐舞方面,罗马的乐舞曾传入唐朝;在百戏方面,罗马的吞刀、吐火等节目在唐朝盛极一时;在绘画方面,既有唐代绘画艺术伴随丝绸进入罗马,又有一些罗马景教绘画艺术传入唐朝;在雕塑方面,罗马雕塑艺术大量传入唐朝,并对唐朝产生了深远的影响。     

略论唐人情恋小说中的寺庙意象

唐人的情恋小说,无论是人间普通男女的情恋故事,还是人与异类的情恋故事(即人神、人鬼、人妖情恋故事),其中多有寺庙意象,然历代研读唐人小说者几无有论及。细审之,唐人情恋小说中的寺庙意象,实与寺庙在唐人生活特别是士人生活中的特殊角色有关。寺庙意象是唐人情恋小说中独特的艺术构成,或者担负着暗示小说人物身份的作用,或者作为小说故事的主要空间场景,或者在小说故事的情节布设中承担联接功能,在叙事建构中发挥重要作用。同时,寺庙意象的大量存在,也为唐人情恋小说增添了浓郁的民俗风情,形成其别样的审美意蕴。     

Memoir and the Sociological Imagination1

This essay responds to Peter J. Stein’s 2019 memoir, A Boy’s Journey: From Nazi‐Occupied Prague to Freedom in America, and his December 2020 essay in The Forum, “Biography, Trauma, Holocaust, and the Sociological Eye” (Stein 2020). Underscoring the resonance between sociology and literature, I use Stein’s work as a springboard for identifying four parallels between memoir’s capacities and sociology’s: (1) capturing the role and weight of contingency in human life, (2) offering audiences a window onto worlds they cannot experience firsthand, (3) cultivating “humane sympathy” (Abbott 2007), especially by probing “meta‐feelings” (Pugh 2013), and (4) fueling the imagination.