李金发诗歌的抒情品格

李金发诗歌“凄迷奇幻”的抒情品格,是新诗史上独特的一品。其“凄迷”主要表现为诗的情绪或诗人的主体情感倾向,“奇幻”主要表现为情绪抒写的艺术倾向,二者是互容而且互为因果的。李金发的诗艺探索留给后来者很多的思考和镜鉴。     

浅谈日本人的语言行为及其审美意识

本文介绍了日本人的语言行为的四种特征,同时介绍了伴随这种语言行为特征的审美意识,探讨了产生这些语言行为特征、审美意识的地域环境因素与历史文化背景。     

传统藏戏的审美张力分析

传统藏戏将教化性和审美性融合统一,形成了具有无限延展的审美空间,被藏民族一代代接受和传承。传统藏戏的多种元素彼此之间相互对抗、冲突和矛盾,形成具有张力的审美空间和强大的审美冲击力,使接受者产生共鸣,在艺术的审美中获得精神的洗礼。在传统藏戏中,主客体巨大反差产生崇高美,体现出藏民不屈的超越精神,以及克服和战胜恐惧后的心灵慰藉和平静;传统藏戏采用佛教逻辑叙述故事,集中体现藏民的人生姿态和精神信仰以及对于真善美的认知和追求,凸显世俗的人性美;藏戏以美的艺术形式和程序化的艺术表演再现普通大众的味与情,形成独具特色的审美情感和审美趣味,最终达到宗教教化的目的;藏戏中戏师的理性讲述与演员的感性表演形成对照,让受众游走于理性与感性之间,对于人物与情节有了更加深刻的感性认知和理性反思;藏戏重复与回环的情节设置使故事情节发展更曲折,人物形象更丰满,主题思想更鲜明,形成了复调之美。     

鲁迅与波德莱尔的话语共鸣

《野草》和《巴黎的忧郁》是鲁迅和波德莱尔的散文诗集,两位伟大的作家选择了相同的文体,运用象征手法,选择特有的意象,表达时代的抑郁和苦闷。由此形成了两者的话语共鸣,体味出新的审美典范。散文诗以其特殊的话语形态表达作者的心理情感及其想像空间,鲁迅与波德莱尔一方面具备写作散文诗的特质,另一方面时代也促成了他们选择这样的话语形态,由此透过两位大作家的文字,我们体味到两者文本之中的话语共鸣——精神的忧郁、心灵的苦闷;同时也体味到世界文学的共鸣。     

健康美--学校体育的理想追求

健康是人类永恒的话题和共同追求的目标,学校体育教育要树立健康第一的指导思想,成为健康和审美的教育."形体与健康"课程的教学目的是通过科学的体育锻炼改变身体形态.文章对此课程的切入点、学习目标分别进行了阐述.     

论黑格尔艺术美定性的伦理内涵

黑格尔的“美就是理念的感性显现”这一美学论断本身包含了艺术美的定性过程。理念是真是美也是善,要符合道德的要求。因此,艺术美的定性也必然地显示出深刻的伦理内涵。黑格尔在理想的定性中对这一问题进行了辩证的阐述。理想的定性,单就它本身来看,表现为“神性—伦理”的演化,也就是伦理内涵的演化;就动作或情节来看,表现为伦理实体在“情况—情境—情节”,伦理内涵表现为这一过程中发生的分化、冲突及其艺术价值。黑格尔艺术美定性的伦理内涵昭示了艺术的伦理道德价值,这在当前伦理观念发现剧烈变化、艺术创作中的伦理道德底线一再下降的时期,无疑具有很好的现实意义。     

Indifference and repetition: occupation testimonies and left-wing despair

As despair is increasingly seeping into leftist politics in many parts of the world, its long-held image as a hindrance to political activism still prevents the thriving literature on the politics of feeling from adequately theorizing this collective posture. This article seeks to probe the public manifestations of left-wing despair by looking at the despairing dispositions that have evolved in the Israeli Left in response to its failure to undermine Israel’s regime of occupation, using the coping modes this failure has sparked as a conduit for complicating the negative image of despair in politics. The analysis draws on two documentaries that showcase soldiers’ testimonies – Z32 and Censored Voices – in which the compulsive but fruitless repetition of witnessing is brought to the fore and serves as a platform for the enactment of despair as a distinctively public disposition. In dialogue with Wendy Brown’s notion of left melancholy and Lauren Berlant’s notion of cruel optimism, the article propounds despair – understood not as an affect, a feeling, or an emotion, but as a recursively performed posture – as an alternative analytic grid for grasping the contemporary agonies of the Left. Drawing on the Israeli documentaries, it demonstrates that despair may be propelled and perpetuated by two kinds of crises – a crisis of movement and a crisis of belonging. Taking both modalities as evidence that despair does not necessarily involve a withdrawal into the self and may transpire through public acts of care, the article claims, using Bonnie Honig’s work on public things, that the ground for the assessment of despair should be shifted from its presumed impact on political actors to the tangible imprints it leaves in the public settings in which action takes place.     

Televisual pregnancy beauty

Theorizing the contours of televisual pregnancy beauty, this essay demonstrates how televisual stylistics construct and communicate a political ideology of pregnancy. When the crime dramas Bones and In Plain Sight incorporated their star actors’ pregnancies, they produced different televisually styled portrayals of pregnancy; these medium-specific portrayals play an important role in how pregnancy itself is culturally conceptualized. Although pregnancy beauty, the commodification and sexual objectification of the pregnant and postpartum body, has been analyzed in ways that link it to post-industrial, neoliberal, capitalist, and patriarchal forces, this analysis demonstrates how televisual style sets the scene for this broader discourse. Specifically, I contend that the costuming, blocking and staging, cinematography, and editing determine how the pregnant body appears, and this then communicates a clear ideology to viewing audiences. Through these two case studies, I analyze contrasting televisual styles and argue that while Bones’ style disciplines the pregnant body and In Plain Sight’s style welcomes the pregnant body, both styles enact a televisual pregnancy beauty that commodifies pregnancy.     

略论杜甫诗中劳动妇女形象的悲剧美

以对《石壕吏》、《新婚别》、《又呈吴郎》三首诗歌来解读杜甫所塑造的老妪、新娘、寡妇三种类型的劳动妇女形象,并进一步分析这些劳动妇女形象所体现出的一种在苦难生活中诞生的坚强生命的悲剧美。     

禅宗与庭园——对日本枯山水的研究

禅宗的基本义理在于“心”和“顿悟”:“心”为禅宗哲学的义理的基托,其实就是强调主观性体验,而“顿悟”就是主观性体验发生突变的主要手段。在对日本枯山水的分析中,着重研究了枯山水中存在的两种基本的意境美:凝固美和枯淡美。凝固美就是研究在日本的枯山水中所展现的沧桑之美,枯淡美就是研究在日本的枯山水中所展现的悲怆之美。在论述枯山水两种意境美时,把禅宗的义理作为论点贯穿于整个文章论证之中。