美容医学的伦理哲思

美容医学是一门新兴的学科,在认可了美容医学带来的"身心解放"内在价值的基础之上,提出了对美容医学发展的一种伦理反思。针对当前不正常和过度的求美现象,从义务论和功利论的视角分别分析了美容医学可能存在的伦理问题,例如,在义务论看来,美容医学似乎成为了一种文化殖民和技术命令,在功利论看来,外表并不能等同于幸福和自我的价值。最后,提出了"中值理论"作为解决当前问题的新路径,强调了真正的生命之美应该是形式和内容的高度统一。     

美容莫如美心

这些年,中国的美容事业,颇呈发达之势,美容院、美容中心、美容城、美容大世界等店堂名目,充斥街头巷口。其业务无非是纹眉、隆鼻、整胸、减肥,以及割双眼皮等。据业务广告说,一旦经过美容,准有“似曾相识燕归来”之奇效。爱美之心人皆有,莫说仅是局部手术,倘若真有谁象《聊斋志异·陆判》那样的本事,把一颗方才咽气的美人头,换接到另一人的颈上,即     

情绪与美容

职业女性爱扮妆,不顾镜自怜修饰一番,迈不动出门的双脚。只是,一旦离开个人生活的天地,纷至沓来的种种不如意的事,很快就使其心烦意乱,心情紧张、焦虑、压抑、忧郁……”她们的由美容而带来的自信心随之失落,美容产生的效果也荡然无存。这是因为,情绪不稳、精神因素不良会损及人的身心健康,更损害美容者的容貌美观。这里,就涉及到国外流行的一种新的美容观点:单纯的外表美容仅是舍本求末的做法,科学的美容法,应从追求整体美、自然美和健康美入手,情绪调整     

《中国美容医学》征稿征订启事

中国美容医学杂志是中华人民共和国教育部主管的国家级医学专业学术期刊,是国家科技部中国科技论文统计源期刊(中国科技核心期刊)、美国《化学文摘》、俄罗斯《文摘杂志》和国内外多家大型数据库和检索机构收录期刊。主要栏目有:基础研究、整形美容、皮肤与激光美容、口腔颌面美容、齿科美容、眼耳鼻美容、中医药美容、综述、讲座、国外美容最新动态、国内最新书讯会讯等。另特辟专家点评、知识链接、学会动态等互动资讯,信息量大(128页)、内容涵盖面宽、图文并茂、实用性强,是美容医学领域唯一月刊杂志。2006年由双月刊改为月刊后,内容更新…     

美容医学伦理宣言

美容医学是维护健康美与生命美的崇高事业,是医疗保健事业的重要组成部分.     

医疗美容致害行为的犯罪问题

医疗美容致害行为是指医疗美容的从业者实施的致使被美容对象生命权或健康权受到侵害的行为.医疗美容的行为主体可以分为合法主体和非法主体.合法主体的医务人员在医疗美客过程中,严重不负责任,造成就诊人死亡或者严重损害就诊人身体健康的,应认定为医疗事故罪.对于非法主体实施的情节严重的医疗美容致害行为,除放任结果发生的情形,应以非法行医罪定罪量刑.     

美容与健康：历史、现状和展望

美容与健康：历史、现状和展望南京铁道医学院（２１０００９）何伦江西省宜春高等医学专科学校（３３６０００）彭庆星一、历史：美与健康的分离考察美容的历史，我们看到的是不同时代人体文化观念的变迁。在漫长的人类发展进程中的许多阶段中，美与健康无缘，或者说美并...     

规范美容医学临床技术--略谈《临床技术操作规范·美容医学》分册的编写体会

从现代医学模式转变出发,探讨了<临床技术操作规范·美容医学>分册的编写体会,阐明了该<规范>分册的指导思想、基本原则,介绍了美容医学临床技术实施效果评价的主要内容和要求.     

乳腺肿瘤微创美容手术策略分析

乳腺肿瘤的发病率呈逐年上升趋势,随着乳腺学科的发展进步、现代医学模式的改变、患者结构和希求的根本变化,大多数患者除了疾病治疗本身外,对术后外观美容提出更高的要求。乳腺专科医生必须适应新的生物心理社会环境医学模式,构建良好的医患协作关系,制定科学的治疗方案、合理选择微创美容手术方法,提高专业技能和转变观念,利用新技术、新材料、新仪器,按照个体化治疗原则,制定乳腺肿瘤微创美容手术策略。     

心理美容的“良方”

随着生活水平的提高,人们越来越讲究和追求美,相比之下对心理美容则重视不够。其实,没有健康的心理,哪有红润、细腻、白皙、娇嫩,亮丽的容颜呢?没有健康的心理,哪有健壮的体魂和蓬勃的朝气呢?%心理美容的目的是除去烦恼、焦虑、紧张、急躁、忧愁、寂寞,获得内在的年轻效果。与外在的除疵点、皱纹,亮丽肌肤等两者不可偏废。心理美容不需要投入大量的时间和经费,只需做到以下几点:%幽默幽默是人的一种健康机能,是心理美容的良方。幽默和风趣的言行不仅可以给人带来欢快的情绪,而且能缓解生活中的矛盾和冲突,是生活的调味品和润滑剂。它能使沉…     

对希波克拉底警句的深层解读--审美修养是从医之必需

试图透过医学与艺术的联系,深入到医学与美学关系的层面,进而发掘希波克拉底关于"医学的艺术乃是一切艺术之中最为卓越的艺术"这一论断的深刻内涵,指出希波克拉底警句蕴涵着:医学是美的职业,它具有崇高地位和独特的重要性;医学所追求的是健康而美好的人生,医学所创造的是健康之美、生命之美、至善之美、仁爱之美.既然医学是最为卓越的艺术,医务工作者就应该重视美学修养,并让医学审美意识牢牢植根于自己的医学实践之中.换句话说,审美修养是从医之必需.     

面孔审美加工的神经机制及个体差异

外显和内隐的面孔审美加工的脑成像研究表明,美的面孔比不美的面孔导致眶额皮层、伏隔核、杏仁核等奖赏脑区更大的激活。脑电研究则发现了与面孔审美加工有关的早期负波和晚期正成分。面孔审美加工有关的脑区活动也受到性别、生理周期等个体因素的调节。未来的研究需要比较美的面孔与其它奖赏刺激加工的神经机制,探讨面孔审美加工的不同阶段及时间进程,在面孔知觉的框架下形成合理的面孔审美加工的神经模型。     

Li Zehou and Moritz Schlick on the Roots of Beauty

Beginning from the Enlightenment view that beauty or art is ＂useless,＂ the attempts to explain how aesthetic experience and judgment are possible presented by Moritz Schlick and Li Zehou are examined, compared and contrasted. The paper treats three main subjects, the anthropological origins of beauty, the origins of aesthetic judgments and the problem of the purpose or function of beauty or aesthetic experience. In the first--the historical-causal roots of beauty--the problem discussed is how to account for aesthetics in light of the practical needs and pursuits of human beings. For Schlick, the problem is couched in terms of how aesthetic experience can be made consistent with natural selection. The second main subject-the philosophical roots of beauty-is a discussion of the origin in the sense of justification of aesthetic judgments. And the third examines the problem of assigning some purpose to aesthetic feelings and attitudes. An apparent contrast is made, and perhaps resolved, between the respective views of Schlick and Li.     

"气":一种古老的刚美意蕴

“刚美”是张玉能先生近几年提出的一个美学范畴。本文对中国古典美学范畴“气”的历史渊流、审美特质等进行了比较详细的探讨和总结,指出了自从“气”取得美学上的主体意义之始,就已经显示出一种标举阳刚之美的审美倾向,或者说,阳刚就成为“气”范畴的美学特征;从而证明了“气”范畴充满了刚美的特质,具有丰富的刚美意蕴,因此它属于刚美范畴。     

Beauty in Proofs: Kant on Aesthetics in Mathematics

It is a common thought that mathematics can be not only true but also beautiful, and many of the greatest mathematicians have attached central importance to the aesthetic merit of their theorems, proofs and theories. But how, exactly, should we conceive of the character of beauty in mathematics? In this paper I suggest that Kant's philosophy provides the resources for a compelling answer to this question. Focusing on §62 of the ‘Critique of Aesthetic Judgment’, I argue against the common view that Kant's aesthetics leaves no room for beauty in mathematics. More specifically, I show that on the Kantian account beauty in mathematics is a non‐conceptual response felt in light of our own creative activities involved in the process of mathematical reasoning. The Kantian proposal I thus develop provides a promising alternative to Platonist accounts of beauty widespread among mathematicians. While on the Platonist conception the experience of mathematical beauty consists in an intellectual insight into the fundamental structures of the universe, according to the Kantian proposal the experience of beauty in mathematics is grounded in our felt awareness of the imaginative processes that lead to mathematical knowledge. The Kantian account I develop thus offers to elucidate the connection between aesthetic reflection, creative imagination and mathematical cognition.     

Aesthetic Testimony: What Can We Learn from Others about Beauty and Art?1

The thesis that aesthetic testimony cannot provide aesthetic justification or knowledge is widely accepted–even by realists about aesthetic properties and values. This Kantian position is mistaken. Some testimony about beauty and artistic value can provide a degree of aesthetic justification and, perhaps, even knowledge. That is, there are cases in which one can be justified in making an aesthetic judgment purely on the basis of someone else's testimony. But widespread aesthetic unreliability creates a problem for much aesthetic testimony. Hence, most testimony about art does not have much epistemic value. The situation is somewhat different with respect to aesthetic testimony about nature, proofs, and theories. And yet he realizes clearly that other people's approval in no way provides him with a valid proof by which to judge beauty; even though others may perhaps see and observe for him, and even though what many have seen the same way may serve him, who believes he saw it differently, as a sufficient basis of proof for a theoretical and hence logical judgment, yet the fact that others have liked something can never serve him as a basis for an aesthetic judgment. Immanuel Kant, Critique of Judgment     

THE SENSE OF BEAUTY

This paper proposes an integrative psychoanalytic model of the sense of beauty. The following definition is used: beauty is an aspect of the experience of idealisation in which an object(s), sound(s) or concept(s) is believed to possess qualities of formal perfection. The psychoanalytic literature regarding beauty is explored in depth and fundamental similarities are stressed. The author goes on to discuss the following topics: (1) beauty as sublimation: beauty reconciles the polarisation of self and world; (2) idealisation and beauty: the love of beauty is an indication of the importance of idealisation during development; (3) beauty as an interactive process: the sense of beauty is interactive and intersubjective; (4) the aesthetic and non-aesthetic emotions: specific aesthetic emotions are experienced in response to the formal design of the beautiful object; (5) surrendering to beauty: beauty provides us with an occasion for transcendence and self-renewal; (6) beauty's restorative function: the preservation or restoration of the relationship to the good object is of utmost importance; (7) the self-integrative function of beauty: the sense of beauty can also reconcile and integrate self-states of fragmentation and depletion; (8) beauty as a defence: in psychopathology, beauty can function defensively for the expression of unconscious impulses and fantasies, or as protection against self-crisis; (9) beauty and mortality: the sense of beauty can alleviate anxiety regarding death and feelings of vulnerability. In closing the paper, the author offers a new understanding of Freud'semphasis on love of beauty as a defining trait of civilisation. For a people not to value beauty would mean that they cannot hope and cannot assert life over the inevitable and ubiquitous forces of entropy and death.     

Beauty in the blink of an eye: The time course of aesthetic experiences

Under normal circumstances, perception runs very fast and seemingly automatic. In just a few ms, we go from sensory features to perceiving objects. This fast time course does not only apply to general perceptual aspects but also to what we call higher-level judgements. Inspired by the study on ‘very first impressions’ by Bar, Neta, and Linz (2006, Emotion, 6 , 269) the current research examined the speed and time course of three aspects of the aesthetic experience, namely beauty, specialness, and impressiveness. Participants were presented with 54 reproductions of paintings that covered a wide variety of artistic styles and contents. Presentation times were 10, 50, 100 and 500 ms in Experiment 1 and 20, 30 and 40 ms in Experiment 2. Our results not only show that consistent aesthetic judgements can be formed based on very brief glances of information, but that this speed of aesthetic impression formation also differs between different aesthetic judgements. Apparently, impressiveness judgements require longer exposure times than impressions of beauty or specialness. The results provide important evidence for our understanding of the time course of aesthetic experiences.     

美术专业与普通专业学生对中西方绘画作品的审美认知差异

审美认知是人类最高级最复杂的心理活动之一,在美育中具有重要的作用。本研究采用不同艺术类别及情绪效价的作品图片,考察美术专业与普通专业大学生对中西方绘画作品的审美认知差异。结果发现：美术专业学生与普通学生对西方画的审美认知差异极其显著,且美术专业学生对西方画产生的美感显著强于普通学生;而两类学生对中国画的审美认知差异并不显著;对于不同风格的绘画作品,两类学生都存在着审美偏好,且审美偏好一致,都对中国画产生的美感更为强烈;两类学生的审美认知反应时间差异极其显著,专业学生总体上要比普通学生进行更多更复杂的审美认知加工活动。研究表明,审美认知具有较强的可塑性,对于美育心理学的发展具有重要的价值。     

THE BEAUTIFUL AND THE SUBLIME IN NATURAL SCIENCE

The various aesthetic phenomena found repeatedly in the scientific enterprise stem from the role of God as artist. If the Creator is an artist, how and why natural scientists study the divine art work can be understood using theological aesthetics and the philosophy of art. The aesthetic phenomena considered here are as follows. First, science reveals beauty and the sublime in natural phenomena. Second, science discovers beauty and the sublime in the theories that are developed to explain natural phenomena. Third, the search for beauty often guides scientists in their work. Fourth, where beauty is perceived, feelings of the sublime often also follow upon further contemplation. This linkage of beauty in science with truth and the sublime runs counter to most aesthetic theory since Kant. Scholarship in theological aesthetics has recently argued that the modern and postmodern elevation of the sublime over beauty is merely a preference that reveals a bias against transcendence—against God. If doing and understanding science can show this sundering of the sublime from the beautiful to be in error, science also gives evidence of transcendence.