三岛由纪夫美学观的形成和变异

三岛由纪夫是一位非常复杂的作家,其作品中表现出的男性之美以及健壮的肌肉、大海的波涛和南国的太阳等象征性描述,往往使读者感到迷惑.尤其是晚年的政治表现和切腹自杀的那幕闹剧,更使得学界围绕其人和其美学观长期争论不休.本文试图从病迹学的角度解释这位作家美学观的形成和变异.     

武汉第一位工人作家刘章仪

湖北有两位工人出身的作家，一位是鄢国培，另一位是刘章仪，他是武汉人。从武汉来讲，他是第一个工人作家，从湖北来讲他是两位工人作家之一。     

复杂坎坷人生路——皖籍作家李良杰素描（上）

李良杰先生是我平生所结识的第一位作家,也是令我钦佩和敬重的作家之一。     

相似的命运不同的精神——《一个人的遭遇》与《活着》的主人公对比解析

苏联作家肖洛霍夫的现实主义力作《一个人的遭遇》与中国作家余华的《活着》中的主人公有着相似命运,不同的精神。两位作者虽然身处不同的文化背景和不同的历史年代,但是他们笔下的任务却有着许多相似之处,这或许是由于人生意义的共性,但面对相似的命运,他们却又表现出不同的精神面貌。本文试图就这种相似与不同进行比较。     

时代·真情·奉献--《路地散传》读后

满族作家路地不仅是一位多产的作家,有许多优秀作品问世,同时对满族学的繁荣发展非常关心,主编出版了多种现当代满族学与作家的书籍。本有感于《路地散传》中所表露的人生经历和学创作道路与成就,从反映了时代、倾诉了真情、诠释了奉献三个方面,对路地的学创作精神以及其作品表现的强烈的时代感,真挚的情感世界,无私的奉献精神,给予了深刻的解读与评价。     

国家、媒体及女性作家间的多层“战争”——以吉屋信子和林芙美子为中心

吉屋信子和林芙美子是侵华战争时期日本表现最为活跃的两位女性作家,其曾于1938年作为“笔部队”成员来华,之后分别创作了《波涛》《女人的教室》等作品。通过探究此类作品得以问世的来龙去脉可以发现,日本女性作家的“性别”既是日本军部及媒体有意利用的“标签”,亦是作家本人着意凸显的个体特征。若在此基础上具体分析作品中所建构的“铳后女性”形象,可以透视日本女性作家如何诱导广大日本女性积极协助侵略战争的内在机制,进而追究其应当承担的战争责任。     

论劳伦斯小说《虹》的流动意识

英国作家D·H·劳伦斯是一位颇具个性的作家,他的创作视觉是本位的,立足于自身的感受和目的,直接表达自己的情绪和观点。他不同于许多现代作家,善于用个人视觉和时空的转换来表现事物的多重性和不定性。他直接把自身的心态,意识,情感,情绪投射进其作品里的人物、事态,情节和背景,使之气氛化和情绪化,这些移动即逝的心态和情绪创造厂劳伦斯特色的流动感和多重感,更强烈地体现了劳伦斯世界的不稳定性。变幻的世界才是真实的世界。为了反映这种内在的真实,揭示人心的深度,劳伦斯力图通过对物质世界矛盾冲突的描写,个人和外部世…     

新加坡华人文学的警世之作——论黄孟文的微型小说创作

黄孟文先生祖籍广东梅县（今梅州市）,1937年出生于马来西亚,是一位有着华人血统的新加坡公民。他在六七十年代先后获得南洋大学学士,新加坡大学荣誉文学士与硕士,美国华盛顿大学哲学博士的学位,是一位知识渊博、通晓中西文化的学者。现为新加坡作家协会会长、亚洲华文作家协会副会长、世界华文作家协会新加坡分会会长、新加坡狮城扶轮社创社社长、《新加坡作家》双月刊主编。     

论汪曾祺小说的审美世界

汪曾祺是一位联结现当代文学的作家,是一位浸透着我们民族艺术精神的老作家。他以几十年的生活经历、见闻和体味,构筑起自己简约、朴拙的小说艺术世界,创造出了别具风味的艺术境界。既有“出水芙蓉”的天然美质,而又不失于精雕细刻,既有原始艺术的古朴,而又不流于粗糙,成为最见功力,却不露斧凿痕迹的小说艺术珍品。平淡的叙述风格汪曾祺的小说没有惊人的语言,没有曲折的情节,也没有大喜大悲的人物情感。从叙述的角度看,穿贯于作品的是一种平平淡淡的风格。平淡的叙述风格在汪曾祺的作品中,直接表现为作品人物情感的平淡和生活以和谐的方式被…     

试论芥川奖的倾向性

日本新思潮派的旗手和主将芥川龙之介(1892—1927),是一位饮誉日本和世界文坛的作家。他是一位有良知的资产阶级人道主义作家,以自己精湛的中短篇小说,为后世留下了宝贵的精神财富。随着日本资本主义的飞速发展,无产阶级和无产阶级所领导的文艺运动冲击着整个知识层     

Danto on Representation, Identity, and Indiscernibles

Arthur Danto has made important contributions to both aesthetics and philosophy of history. Furthermore, as I shall try to show in this essay, his aesthetics is of great relevance to his philosophy of history, while his philosophy of history is of no less interest for his aesthetics. By focusing on the notions of representation, identity, and the identity of indiscernibles we shall discover how fruitful this cooperation of aesthetics and philosophy of history may be. Crucial to all historical writing and, hence, to all philosophy of history, is the notion of identity through time and change. How could the historian write the history of x if x cannot be said to remain the same in the course of its history? It will become clear that aesthetics will provide us with a satisfactory solution for the problem, for the aestheticist notion of representation will enable us to define the notion of identity that the historian needs. Nevertheless, a certain friction can be observed between Danto's aesthetics and his philosophy of history. At the end of this essay I hope to show that Danto's philosophy of history will be our best guide to dealing adequately with this friction.     

The metaphysics of disinterestedness: the Chinese gardening style and Shaftesbury's new aesthetics1

Scholars of Shaftesbury generally consider his notion of disinterestedness as the beginning of modern aesthetics while connecting it questionably with a view of modernity as defined in terms of the segregation of truth, beauty, and goodness. To read Shaftesbury differently, it is necessary to look into the textual circumstances of his key aesthetic ideas. In particular, it is important to recognize his implicit use of Sir William Temple's discussion of the Chinese garden immediately before the few justly famous passages about the beauty of the ocean, the vale, and the fruit trees and about the free and spontaneous response of the human character which constitutes the aesthetic experience. As well as a useful illumination for his new understanding of disinterestedness, this unusual involvement of a radically different artistic and philosophical tradition may also be his momentary revelation and acknowledgement of an otherwise hidden metaphysical inspiration for his revolutionary aesthetics.     

孙应鳌美学思想的文化价值取向

孙应鳌的心学美学思想形成的文化价值取向必然是：以心性本体为基础的人格境界,以伦理本体为基础的道德境界,以意向本体为基础的至美境界。孙应鳌这体现着真、善、美相统一的三种境界所构成的文化价值取向,在其心学美学的范围内出现的一定程度的价值迷失,在其心学美学的范围外恰恰可以成为一定程度的价值获得。     

Spinoza's counter-aesthetics

ABSTRACT

Spinoza says very little about art or literature in his work; a fact which partly explains the absence of references to him by the German initiators of aesthetics in the eighteenth century, including Baumgarten, Kant and Hegel. Spinoza's resolute opposition to teleology, however, provides an even more compelling reason for his absence, given the teleological conception of literary and artistic form common to the notion of aesthetics at the time of its emergence. Is it possible to fashion a counter-aesthetics from the materials provided by Spinoza's philosophy? I argue that his reading of the great Spanish Baroque writers, especially Luis de Góngora and Baltasar Gracián (whose works were found in his library), provided him with an alternative conception of literary form based on a rejection of formal coherence and closure in favor of constitutive incompleteness and an opening to the infinite.     

Communities of discourse: Ideology and social structure in the reformation,the enlightenment,and European socialism

In contrast to the conventional view of Ludwig Feuerbach as a left-wing Young Hegelian, this article argues that his primary contribution to philosophy is to be found in his later ethics, the basis of which may be discerned in his earlier writings. Over and above recent work on Feuerbach's aesthetics, his relation to Herder, and the relationship between aesthetics and ‘theological politics’ in his thought, Feuerbach's philosophy can re-evaluated, in relation to Epicurus and the French libertin tradition, as articulating an ethics of hedonism. In The Essence of Christianity (1841), the Nachlass fragment ‘Elementary Aesthetics’ (1843), and his Principles of the Philosophy of the Future (1843) Feuerbach moves towards the vitalist materialist position that culminates in his (proto-Nietzschean) insight in ‘Against the Dualism of Body and Soul, Flesh and Spirit’ (1846) into the world as an ‘aesthetic phenomenon’, thus laying the foundations for his recognition of the centrality of sensuous pleasure to the ethical life.     

Leibniz on Diplomacy and Discernible Art

Abstract

This article discusses Leibniz’s unique blend of aesthetics and diplomacy. While his art extended diplomacy beyond the bounds of political realism, his diplomacy gave occasion to his art. His identity of indiscernibles (objects with the same properties are identical) inspired philosopher Arthur Danto to define contemporary art in terms of a qualitative perceptual division between the world and the Artworld (objects with the same properties may or may not be art). Although Leibniz would have disputed Danto’s bifurcated artistic perspective, Danto vindicates Leibniz’s major contribution to contemporary aesthetic philosophy by defending his belief in the moral foundation of art. Leibniz was not only one of the pre-eminent men of German letters of his time, he also excelled in diplomacy on behalf of the Hanoverian court. His international relations (IR) theory of peace through grand global alliances is only just beginning to be understood, though his aesthetics and correct diplomacy continue to validate individual creativity, liberal freedoms, and universal enlightenment up to this very day.     

顾恺之“画论”美学观管窥

颐恺之美学观的形成具有划时代的意义。他的绘画理沦阳绘画创作使中国绘画美学得以系统体现．并出现了抽象美的萌芽。他把握了绘画美学的艺术理论．并从中总结出一系列绘画用语。他把前人曾有过的“形神兼备”、“发挥画家主观作用”等处于萌芽状态的思想．用“以形写神”、“迁想妙得”等观点统一起来．建立了绘画美学系统．为中国绘画美学的发展奠定丁深厚的基础。     

Is Lévi-Strauss Still Good to Think?

The centenary of Claude Lévi-Strauss' birth, and his death shortly afterwards, have generated a spurt of publications ranging from biographies to collections of essays to unpublished works. Some of these works dwell on his worldview, his preoccupations with globalization, overpopulation, and the environment, albeit in ways that reflect the poverty of his sociological analysis. Reappraisals of his structural approaches to the study of kinship, myth, and aesthetics are more relevant to contemporary approaches in anthropology, especially those that stress his paradoxical wedding of primary sensuous experience to abstract patterns of thought.     

‘Elementary aesthetics’, hedonist ethics: The philosophical foundations of Feuerbach's late works

In contrast to the conventional view of Ludwig Feuerbach as a left-wing Young Hegelian, this article argues that his primary contribution to philosophy is to be found in his later ethics, the basis of which may be discerned in his earlier writings. Over and above recent work on Feuerbach's aesthetics, his relation to Herder, and the relationship between aesthetics and ‘theological politics’ in his thought, Feuerbach's philosophy can re-evaluated, in relation to Epicurus and the French libertin tradition, as articulating an ethics of hedonism. In The Essence of Christianity (1841), the Nachlass fragment ‘Elementary Aesthetics’ (1843), and his Principles of the Philosophy of the Future (1843) Feuerbach moves towards the vitalist materialist position that culminates in his (proto-Nietzschean) insight in ‘Against the Dualism of Body and Soul, Flesh and Spirit’ (1846) into the world as an ‘aesthetic phenomenon’, thus laying the foundations for his recognition of the centrality of sensuous pleasure to the ethical life.