试论平遥文庙的人文价值和文化特征

本文以平遥文庙为研究对象,通过对平遥文庙的建筑艺术的研究,明确其布局特色和规模发展以及礼制传统,在各个层面上探寻文庙建筑艺术特色的文化渊源,对儒家思想文化在建筑艺术方面的表征做进一步价值挖掘。     

狄更斯短篇小说《冬青树旅店的布茨》叙事艺术分析

在中国,狄更斯的长篇小说可以说是家喻户晓,但其短篇小说却历来略受忽视。本文则以其短篇小说《冬青树旅店的布茨》为研究对象,以叙事学的角度来探悉作品的叙事特色：作者以第一人称和第三人称交替叙述;双重视角的运用;叙述者声音的凸显,以及和叙述接受者的对话等写作手法令人称奇,旨在说明狄更斯的短篇小说也有非比寻常的魅力和研究价值,同样是世界文学中的瑰宝。     

余华作品的叙事艺术

余华作为一个先锋作家的代表,经常出现在当代文学史中。而作为一位优秀的当代小说家,余华是＂被研究得最充分的作家之一＂。对其的研究,主要集中于小说主题、思想意义、艺术特色、等等,但从叙事学角度出发综合分析余华创作的论著还相对较少。因此,本文试图运用叙事学从余华小说的叙事艺术方面出发,来探讨余华小说的创作特色。     

波纳尔绘画艺术研究综述

本文以“波纳尔绘画艺术”为研究课题,从自己搜集到的资料入手,对波纳尔的绘画艺术特色进行一次综述。通过对波纳尔绘画艺术的研究分析,总结了他在绘画方面独特的艺术特色以及对后世的影响,通过对国内外研究现状的分析,为以后的艺术研究明确了方向,并且对当代艺术家有着一定的指导借鉴作用,对当代艺术的发展也有所裨益。     

浅谈诗乐《谒金门·开于阗》的艺术特色

2018年11月举办的"玉华帛彩·国际诗文吟唱会"的开场节目《谒金门·开于阗》在内涵、艺术表现形式、音乐特色三方面独具匠心,具有高度原创性和艺术感染力。在举国庆祝改革开放40年的背景下,本文通过演奏实践、采访策划人与创作者、分析音乐特色与诗乐的研究方法来探究其艺术特色,以期对于我们讲好中国故事、大力弘扬丝路玉帛文化精神具有促进意义。     

康熙青花瓷艺术语言解读简

康熙青花瓷是我国青花瓷器中的杰出代表和主流产品,具有高度的艺术价值和市场认可度,近年来受到鉴藏界热捧。康熙青花瓷艺术特色十分鲜明,所体现的文化意识异常丰富。本文从器型、题材、画风三方面详述康熙青花瓷的艺术特色,挖掘其背后的文化内涵,认为康熙青花瓷的制作技艺炉火纯青,其发展已经达到中国瓷器发展的顶峰,是集雅致的文人底蕴、高贵的宫廷风格于一体的艺术精品。同时,也要承认其题材的有限性,可见当时中西文化并未实现高度融合。     

论鲁迅第一人称的小说

在短篇小说中运用第一人称的叙事手法,同我国传统的说书人式的叙事方法截然不同,它是外国短篇小说创作的成功经验。在“五四”前后,鲁迅从表现新的现实生活出发,汲取了这一外来的创作经验,加以消融与改造,运用到自己的创作中,效果较好,也很有特色。可说这也是鲁迅对我国现代短篇小说创作方法的一个革新和突破。     

《离骚》狂放奇艳的艺术特色及其成因分析

本文认为,《离骚》具有狂放和奇艳的艺术特色。其狂放的艺术特色是与楚民族"剽轻"的性格特征和屈子悲剧性的人生际遇分不开的。其奇艳的艺术特色除受当时的时代风气影响外,还与屈子对荆楚秀丽山川和楚地重繁饰的巫教的艺术体验有关。     

试论婺州古建筑特性

本文在对婺州古建筑进行广泛研究的基础上,系统论述了婺州古建筑在选址及布局、建筑类型、空间格局、装饰艺术等方面的特色。     

土族刺绣的审美价值及开发前景

青海土族的刺绣艺术,是我国少数民族民间文化艺术中的一朵奇葩。研究其独居特色的丰富文化内涵,进一步挖掘其艺术魅力,对于发展民族经济,促进地区间的文化交流具有积极的意义。     

Reframing belonging: affective localism and the early fiction of Reino Rinne

The early fiction of a novelist and journalist born in the north of Finland, Reino Rinne (1913–2002), is illustrative of the post-war interest in a redefinition of cultural belonging. The aim of this article is to offer a reading of Rinne’s works that throws light on the way they exemplify a post-war articulation of affective localism. What is especially characteristic of the affective localism produced in Rinne’s early fiction is the deployment of certain narrative elements, realism as an aesthetic regime, tropes of spatial belonging and historical myths that are endowed with affective charge. A comparison between Rinne's first novel Tunturit hymyilevät. Kuvaus Lapista 1900-luvun alkuvuosilta ([1945a]. The Fells are Smiling. Helsinki: Kustannusosakeyhtiö Otava), and his collection of short stories Erämaan omia ihmisiä ([1949]. People of the Wilderness. Helsinki: Kustannusosakeyhtiö Otava), reveals that there was a change in Rinne’s artistic practice. While Rinne’s first novel revolved around a promise of reciprocity and happiness, the collection of short stories shows the dissolution of the optimism that, according to Berlant [(2011). Cruel Optimism. Durham, NC: Duke University Press], is at the core of all attachments.     

Looter of the Dreamings: Xavier Herbert and the Taking of Kaijek's Newsong Story

In his novels and stories of the Australian frontier, Xavier Herbert distances himself from anthropologists whom he resents because they have professional licence to act as looters of the Dreamings. Yet, as ‘artist’, Herbert is unable to admit the extent to which his own story‐forms are taken from Aboriginal productions. In those writings completed after Capricornia and before he finally turns to compose Poorfella my Country, he keeps much of his borrowing secret and his deceptions lead both to a guilty preoccupation with looting as a theme and to the production of stories with missing middles. (Interventions of the Dreamings are left out of the printed versions.) While he acts as cultural broker, honest broking is impeded by Herbert's Romantic self‐vision (portrait of the ‘creative artist’ as a young dog) and by the universalisation that denies cultural difference spuriously to assert the unity of human artistic experience in its stead. I show how Herbert's authorial practise makes him the very semblance of the anthropologist. He, likewise, is a looter of the Dreamings.     

Hallucinations and Pathological Visual Perceptions in Maupassant's Fantastical Short Stories- A Neurological Approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In “Le Horla,” his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In “Qui sait” and in “La main” there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In “Lui,” autoscopy and hypnagogic hallucinations emerge as fantastical key elements.

The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably “Le Docteur Héraclius Gloss” and “La main d’écorché” (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in “Rêves,” could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at “La Salpêtrière,” armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

Feminine Wiles and Masculine Weakness: Seventeenth-Century Visual Responses to Tasso’s Crusade

This essay offers a political reading of the artistic choices made by seventeenth-century painters in their depictions of the heroines of Tasso’s Jerusalem Delivered (1581). It discusses the political subtext of Tasso’s epic poem by exploring the roles Tasso assigns to his oriental heroines and their representation in seventeenth-century paintings. Painters and patrons alike were particularly enthusiastic about the love stories that developed around Jerusalem. But Tasso is promoting a crusade, and the visual focus of later painters on Tasso’s seductive female protagonists and their submission to Christian warriors, suggests that their aim was to display the delights that await those who join a military expedition to conquer the Holy Land.     

Hallucinations and pathological visual perceptions in Maupassant's fantastical short stories--a neurological approach

Maupassant excelled as a realist writer of the nineteenth century, with fantastical short stories being an outstanding example of his literary genius. We have analysed four of his fantastical stories from a neurological point of view. In "Le Horla," his masterpiece, we have found nightmares, sleep paralysis, a hemianopic pattern of loss and recovery of vision, and palinopsia. In "Qui sait" and in "La main" there is also an illusory movement of the objects in the visual field, although in a dreamlike complex pattern. In "Lui," autoscopy and hypnagogic hallucinations emerge as fantastical key elements. The writer suffered from severe migraine and neurosyphilis involving the optic nerve, which led to his death by general paralysis of the insane (GPI). Visual loss and visual hallucinations affected the author in his last years, before a delirant state confined him to a nursing home. Our original hypothesis, which stated that he could have translated his sensorial experiences coming from this source to his works, had to be revised by analyzing some of his earliest works, notably "Le Docteur Héraclius Gloss" and "La main d'écorché" (1875). We found hallucinatory symptoms, adopting the form of autoscopy and other elaborated visual misperceptions, in stories written at age 25, when Maupassant was allegedly healthy. Therefore, we hypothesize that they may be related to his hypersensitive disposition, assuming that no pathology is necessary to experience such vivid experiences. In addition, Maupassant's abuse of drugs, as illustrated in "Rêves," could have provided an additional element to outline his painstaking visual depictions. All these factors, in addition to his up-to-date neurological knowledge and attendance at Charcot's lectures at "La Salpêtrière," armed the author for repetitive and enriched hallucinatory experiences, which were transferred relentlessly into his works from the beginning of his career.     

赵孟頫《松雪斋集》成书的文化史意义

《松雪斋集》是赵孟頫宦游经历、诗文词赋、书画题跋等文艺作品的汇集,反映着赵孟頫个人诗文的风格特色、书画的艺术传统和历史价值;同时,因为其中凝结着元代诸多文人学者、书画名家的声音,因此又成为展示元代文人生态图景的一个窗口。本文拟从《松雪斋集》成书这一动态过程切入,分析赵孟頫文学创作展开的时代背景,考察参与和推动其创作的社会动因,借以认识赵孟頫文化形象树立的动态过程,以及在文化传播机制下《松雪斋集》的历史价值。     

Beyond the One-World Frame of Fiction: The Breakdown of Reality in Hushang Golshiri's Stories

The debate over political commitment in Iran was never limited to adjudicating content: it was frequently a debate over form as well. In the realm of fiction, this debate fixated on realism, the nature of mimesis, and the autonomy of art and the literary text. Within a few short years after forming the iconoclastic journal Jong-e Esfahan in 1965 with a group of likeminded colleagues, the writer Hushang Golshiri had become the preeminent modernist fiction writer in Iran. His critical essays represented a passionate defense of aesthetic autonomy at a time when realism and, particularly, socialist and “engaged” literature were powerful shibboleths in the Tehran literary scene. This paper begins with a look at Golshiri's critical interventions in this debate and then moves on to show how the short stories he produced in the Jong era were an even more integral part of his response to the mimesis question. By reading his stories with a methodology drawn from “possible worlds” theories of narratology, Todorov's fantastic, and Golshiri's own theories, we see how these works break down the “one-world” frame of reality that realism takes for granted, and require the reader to grapple with multiple, often contradictory, possible realities in its stead.     

Stitching modernity: the textile work of Fortunato Depero

Fortunato Depero (1892–1960) was a Futurist artist who worked in a variety of artistic mediums, from painting and graphic design to furniture and textiles. His work in textiles, created and produced in close collaboration with his wife, Rosetta Amadori, can be considered the most important development in his artistic career, as it comprised a large portion of his creative production. Yet this work has been largely overlooked. Many reasons explain this oversight, including categorizing inconsistencies – for example, his textiles have been described as embroidery, needlework, tapestry, patchwork, and cloth mosaic – and the persistent relegation of textiles to the realm of crafts and domestic arts rather than art, which has meant that his work in textiles has not been a priority for scholars and conservators of Futurism. This paper places Depero's textiles within the context of early-twentieth-century modernist artistic activities, and demonstrates the centrality of his textile work to his artistic oeuvre.     

地理的空间与文学的意象——以贾平凹小说创作为例

人地关系对文学创作具有深刻影响。贾平凹其人其文在创作理念、叙事方式、人物形象等方面都具有鲜明的地域性特征。本文以贾平凹代表性小说作品为例,考量了商州的地域文化地理要素对贾平凹小说创作产生影响的机制。论文认为,自然地理环境能够构成文学创作的自然意象,人文地理环境能够生发文学创作的民俗文化意象、丰富其地域文化意象,并促成便于营造意象的艺术风格及其嬗变。