无限家园--读廖志理的组诗《来自生活最初的激情》

文章通过解读组诗文本,抓住家园情结这一内核,较为翔实地剖析了诗人对农耕民族的精神历程与诗意关怀,并归纳了三个艺术特点即忧患精神的张扬、时空转换的把握和整体象征的艺术自觉.     

柳宗元谪居柳州文心发微

柳州四年是柳宗元一生的最后阶段,也是他创作的高峰期.尽管他在这四年的仕宦生涯中仍持守"辅时及物"之道,但终因长期的弃置使他内心几近绝望,故其创作风格既表现了犹待时用中的孤峭哀怨,又展现了人生大迷惘中的幽郁凄婉,这两种浓烈的悲剧性体验,使其人格和作品具有重要的悲剧美学价值.     

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.     

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。     

美丽总是愁人的--论作为一种审美体验的忧郁意识

将作为一种审美形态的悲剧视为艺术表现的最高形式由来以久,但现在来看事情并非如此.悲感现象里的哀怨表现是审美文化中的下品,作为对生命力的肯定的英雄悲剧也并不能达到审美体验的颠峰.只有与幽默感相通的忧郁体验,才能凭藉其生命深度达到审美意识的极限.清楚地认识这一点有助于人们在审美实践中更好地把握审美与人生的关系.     

彊村词艺术风格浅议

彊村被近代词坛尊为清季词学之大成者,其词学吴文英,又学苏轼。以微言寄托忧国之感,柔厚而深涩,意隐而不露。在意象锤炼方面极意求工,特别注重借特定物象来抒发幽深之情。又注重词境创造,一些写景之作,或由景抒情,或融情于景,具有感人的艺术魅力。彊村性灵高洁,襟抱冲远,其词冲淡醇雅,格高意远,词品极为高致,不愧为结穴千年传统词的殿军。     

勃朗特姐妹的内向性格对其小说创作的影响

闭塞的环境，简单、古板的教育，使牧师家庭出身的勃朗特姐妹性格内向；这使她们难以适应社会，生活封闭。经历简单，对人生充满痛感，精神上反叛社会，幻想超现实的自由生活。这些都影响到了她们的小说创作，使其有明显的自传性和强烈的主观化色彩。     

忧郁的迷狂——从艺术家个性看其作品的悲剧色彩

"忧郁意味着天才"是文艺复兴时期非常流行的观念,忧郁成为艺术家的代名词.从米开朗琪罗、伦勃朗、凡高、蒙克等西方艺术巨匠身上,看到了艺术家忧郁的个性,并在其作品中找到了忧郁个性的投射--艺术作品所涵盖的悲剧性色彩,我们也看到了悲剧因素在艺术作品中永恒的魅力.     

戴望舒抒情格调试析

戴望舒的诗几经命运沉浮，却始终魅力不减，在凝聚的艺术中，无论是悲哀、绝望和欢愉，都写得含蓄细腻，饱满而有节制，泛滥的情感化成了可感的经验与审美意象。其中，隐藏着一个现代知识分子对孤单卑微的个体生命细腻敏锐的体验，隐藏着一种生命的悲剧感。     

日本悲哀之美内涵的解读

作为日本文坛现代派的代表川端康成,很早就以“继承日本的美学传统”自称。在他的文学作品中细致地描写了日本人对自然的热爱及情趣,描写了人与人之间的无不常有的悲哀韵致,尤其是在小说《雪国》中展现了日本文学的悲哀之美。