中国古代舞蹈审美层面论

情与志的密不可分、合二而一是中国舞蹈审美在内容层面上的独有特征;拧、倾、曲、圆的形态特征,轻盈流动的舞姿,精彩绝伦的旋转形象共同构成古代舞蹈审美形式层面上"圆润流转"的美学风格;在艺术思想层面上,中国古代舞蹈审美直接指向意境,从圆润流转的舞蹈艺术形式中流溢出空灵流动的生命情调和神韵,在舞蹈艺术表演中又蕴涵着以实带虚、虚实相生的思想,而这些恰恰是其它一切古典艺术样式的最高美学追求。     

试论钱钟书"六法"失读说 --兼与"气韵生动"说商榷

关于谢赫论画有“六法”的标点问题 ,存有两种不同的意见。钱钟书“六法”失读说 ,并从多方面进行了梳理和阐释。对当前较为流行的“气韵生动”说 ,在提出质疑的同时进行了较为细致的辨正。指出“气韵”比“气韵生动”更准确、周延、规范 ,更符合谢赫的本意     

生动有效的英语语法教学探究

本文指出真实的话言材料的选择、语法教学的语境化和丰富的课堂活动的设计,有助于英语语法教学变得生动且有效。     

《陌上桑》的乐府性质与文学价值

《陌上桑》在乐府诗中属于艳歌，前有艳，后有趋，充分体现了乐府诗的音乐特征。女主人公罗敷把与“四十专城居”的夫婿年龄相仿的老太守作为戏弄教育对象，与当时社会宣扬贞烈之风的需要密切相关，也是汉乐府表现现实的基本要求，显示出汉乐府的讽谏与娱乐的双重功能。     

The Challenge of Leadership in Front Line Clinical Teams Struggling to Meet Current Policy Demands

Teams, and their managers, working at the interface between government policy and service to clients are subject to high levels of anxiety arising out of the persecutory manner in which well-intended policy demands are delivered and cost efficiencies imposed. Informed by Bion's ideas about group behaviours, these responses can be understood as a form of defensive behaviour and identified as Basic Assumption Me-ness. Basic Assumption Me-ness in team managers takes the form of managerialism at the expense of leadership, developing a shell that acts as a protection for the lonely, overburdened, vulnerable and soft inside. This hardness, evident through increased unavailability and a rather sadistic use of boundaries, is communicated to staff, who in turn pass it onto clients. In this manner, it infects all relationships thus stifling emotional engagement, creative thinking and practice. This paper then explores ways in which team leaders, courageous enough to take up their authority in an emotionally engaged manner, can reverse these dynamics to the relief and benefit of all concerned. Leaders need to insist on attendance at meetings and supervision where cases can be properly considered; demonstrate an ability to think about risk as ever present in the work because, as all are well aware, no amount of form filling can eliminate this; and acknowledge that the work requires constant assessment and judgement as well as an ability to stay with the unknown. The aim is to be responsive to the daily struggles of team members working face-to-face with clients and to remain aware of ‘the reality on the ground’ when engaging in an equally lively way with senior management.     

湖南耒阳方言形容词生动形式——以AAB崽为例

本文在实地调查所得语料的基础上，从结构类型、语义特点、语法功能等方面对湖南耒阳汉语方言中一种特殊的形容词生动形式——“AAB崽”做了全面的共时描写和分析，以期从一个侧面为汉语形态学的建立提供方言材料佐证。     

由吉奥诺笔下的“气”说起——兼谈中西美学审美观照

气的描写是吉奥诺作品中的重要特征之一。吉奥诺不关心气的概念作为气体状态物质属性的原始含义,却钟情于气概念发展为具有普遍意义上的哲学含义。这种美学倾向源于作家生命的感悟,吉奥诺的艺术就是人类灵性之气的表现,生气就是灵性之气。换句话来说,灵性之气就是艺术家与天地万物心有灵犀的观物,这就是中西审美观照不谋而合之处。     

天真活泼 幽默诙谐──林黛玉性格的另一面

多愁善感,以泪洗面,这是林黛玉给人的突出印象,因而决定她的感情基调是悲伤哀怨的。但是丰满而又复杂的人物形象,其性格应具有很多不同的侧面。林黛玉的性格中同样也有天真活泼、幽默诙谐的一面,《红楼梦》地表现了她那少女的浪漫、青春的欢笑,从而使这一人物形象显得更真实,更可爱。     

《聊斋志异》与聊斋俚曲——兼论《仇大娘》与《翻魇殃》

蒲松龄在晚年创作了大量俚曲,其中有七部的题材与《聊斋志异》中的小说相同。他写作与小说同一题材俚曲的目的是用一种寓教于乐的文艺形式对村庸市媪进行教化,表现的主题都是普通百姓日常生活中所关心的问题,充满了对整个社会和底层人民的关注。作家还特意选择了俚俗的语言进行创作,为后人改编《聊斋志异》奠定了家庭化、世俗化的基调。     

论韩驹的诗歌创作

韩驹是宋代南渡前后的一位重要诗人,通过对他诗作的分析,概括了其“奇丽圆活”的诗歌特征,并从推敲字词、师法前人、受祥宗影响等方面分析了其诗风形成原因,同时指出了他在当时诗坛融合苏（轼）黄（庭坚）、承前启后的历史地位。