电影技术美学的历史

科学与技术有其独特的目的和用处,对于大多数学者特别是新媒体研究学者们来讲,他们最感兴趣的是技术能够如何同美学实践相关联。这样,他们的任务就不仅仅是单纯地介绍独特的发明、技术和工艺;而要把它们放置在一个更为复杂的境地,对发展与变化的全部过程进行动态观察和研究。新的技术美学在不断发展。从历史的回顾到对科技研究的全面考察,我们将要说明这个新的技术美学的重要性,而目前这个研究已经成为学院式研究的热门,而且它将对学院教育与研究的发展做出贡献。     

试论都市散文创作危机意识的文化意义

世纪之交,散文审美意识出现了既有多声部复合变奏,又存在审美理想趋同的复杂局面,尤其是都市生态危机和都市美感危机中的审美理想趋同最为突出.当前都市散文审美理想相当大程度上是以乡土田园所代表的农业文明审美风范为参照而衡定.乡土田园的古典美已构成对都市现代美的遮蔽.当前都市散文审美意识应在吸取古典人文资源的同时,努力张扬自身的现代美内涵,给人们提供富有时代内涵的审美经验,实现当前散文创作的创新与发展.     

论特里·伊格尔顿的审美文化理论

运用唯物辩证法研究伊格尔顿(Eagleton)美学,认为伊格尔顿美学结合资本主义的现实,发展了马克思主义的意识形态理论,揭示当今资本主义意识形态本质是确立资本主义社会合理性,特征是把法则写在人的心灵上,通过审美等多种形式实现意识形态的内化。     

几何与建筑美

几何与建筑美存在着密切关系，从比例分割、几何曲线、曲面等方面探寻了几何与建筑美的奇妙关系。     

早期道教美学思想的发展与分化——《太平经》与《抱朴子》美学思想比较

《太平经》的民间道教思想中包含了丰富的美学思想 ,既是汉魏时期中下层老百姓美学意识与宗教思想相结合的产物 ,又是中原古代文化中审美文化的宗教化和民众化。《抱朴子》既是学者型学术著作 ,又是神仙道教理论思想体系的集大成 ,体现了上层人士、上层知识分子的神仙道教理想及其美学思想 ,具有江南文化色彩。两相比较 ,《抱朴子》的神仙道教美学思想 ,既是古代道家美学理想的宗教化 ,又是古代神仙理想和魏晋美学理想的结合 ;同时 ,它既是早期道教包括《太平经》在内的美学思想的主流化发展和理论提升 ,又是早期道教美学意识、美学思想的分化     

数学教学与素质教育之间关系的探讨

跨入 2 1世纪 ,对人才的综合素质有更高要求。如何提高学生的综合素质 ,是一个重要而又具体的问题。本文通过对素质教育的解析 ,阐述了数学教学与素质教育的联系 ,提出了如何通过数学教学来培养学生高尚的道德和辩证唯物主义的世界观 ,并且就教学中对数学的整体性修养、创造性思维以及美学教育提出了见解。     

论纳兰性德的词学思想

有清一代,词派纷呈,词学极盛。纳兰性德虽未开宗立派,标举词张,但散见于他的诗词作品、杂识笔记、书信序文中的词论观点是清代词学不可或缺的重要组成部分。纳兰性德的词学思想可以梳理为以下三个方面:尊词体、重寄托;主情致、崇境界;显个性、求独创。     

论柯勒律治文艺理论的科学成因

柯勒律治的有机主义文艺理论,既是对当时流行的机械唯物主义哲学以及机械主义心理学的反拨,同时也是生物学对物理力学反拨的结果。但由于其受生物学影响较深,在他看出文艺创作类似生物生长的同时,未能看出二者作为两个不同门类的区别,导致其文艺理论存在着诸多弊端。     

Contemporary Afro and two-sidedness: Black diaspora aesthetic practices and the art market

This paper examines the cases of five mid-career artists with Afro origins – Ghada Amer, Julie Mehretu, Wangechi Mutu, Yinka Shonibare, and Kara Walker – using interviews and other data provided by the artists, dealers, curators, contemporary art historians, and a collector. Such a variety of voices follows Negri [2009. Art and Multitude: Nine Letters on Art, Followed by Metamorphoses: Art and Immaterial Labour. Translated by E. Emery. Cambridge, MA: Polity], who suggests a two-sidedness of art as activity and commodity. Black diaspora aesthetic practices – double consciousness, associated with both Du Bois Du Bois, W. E. B. 1903. The Souls of Black Folk. http://www.bartleby.com/114/100.html. [Google Scholar] [1903. The Souls of Black Folk. http://www.bartleby.com/114/100.html] and Gilroy [1993. The Black Atlantic: Modernity and Double Consciousness. Cambridge, MA: Harvard University Press], and post-black, linked to Golden [2001. Freestyle. New York: Studio Museum in Harlem] – are addressed as part of an evolution of multiple identities. This is about how these artists negotiate the social structure they find themselves inhabiting and encountering to create meaning. These artistic phenomena, as commodities dictated by the circulation of capital, draw attention to the contemporary art market. The management of artistic relationships between artists and their dealers emphasizes what Granovetter [1985. “Economic Action and Social Structure: The Problem of Embeddedness.” American Journal of Sociology 91 (3): 481–510], [1992. “Economic Institutions as Social Constructions: A Framework for Analysis.” Acta Sociologica 35: 3–11] calls social embeddedness, the interdependence of economic and non-economic actions.     

Reading the Queer Domestic Aesthetic Discourse

Abstract

The stereotype of the gay man as arbiter of domestic style and design is widely recognized. Robin Williams humorously referenced this in a joke: “We had gay burglars the other night,” he notes, “They broke in and rearranged the furniture.” What remains unclear is the ways in which stereotypes relate to the lives of ordinary people and the homes they inhabit. This article brings together the idiosyncrasies of queer design that circulate at a number of levels in a mainly transatlantic discourse—thanks to the help of mass media, television programs, and a niche of scholarly literature—with a study of ordinary homes belonging to lesbian, gay, bisexual, transgender, and queer (LGBTQ) lives in a global city. It is argued that this wider queer aesthetic penetrates everyday space and shapes homes in complicated ways; there is a tension between these two domains. The empirical research draws from in-depth semi-structured interviews with Londoners gathered as part of a larger project on sexual minority identity at home in London, UK. Looking to these domestic case studies allows for a spatialized reading that challenges celebrated and exclusive interiors. Offering a timely and distinct architectural approach looking to the everyday users of ordinary domestic space aims to modestly move in another direction towards a model of diversity, opening up queer domesticity and sexual minority identity to multiple representations.