The embodiment of beauty: Evidence from viewing Chinese concrete words and pictographs

How is beauty embodied? According to the viewpoint of embodied cognition, the aesthetic processing of words or pictographs has roots in their referential archetypes. Four experiments tested whether the beauty of referential archetypes was routinely activated during the explicit and implicit aesthetic evaluations of the font structures of concrete Chinese words and pictographs in congruent or incongruent font colour. Results showed font structures of simplified Chinese words and pictographs were judged to be more beautiful when they referred to beautiful archetypes; and this pattern was reversed when they referred to ugly archetypes. Moreover, judgement was facilitated when font colour was congruent for Chinese words and pictographs referred to beautiful archetypes. For those referred to ugly archetypes, judgement was inhibited in congruent font colour but facilitated in incongruent font colour, suggesting aesthetic perceptions of the font structures of Chinese words and pictographs were derived from their referential natural objects. The spontaneous generation hypothesis of beauty is proposed to account for these findings.     

‘What works?’ Response to the paper by James Astor

Abstract :  A personal account of an analysis with Michael Fordham and subsequent conversations with James Astor. A number of themes are developed concerning the expression of feeling, use of language, and the relevance of aesthetic values to the practice and reporting of analysis.     

实践美学视野中的自然鉴赏观

Appreciating nature may at its best feature have three levels of experience according to practical aesthetics. The first level is more sensuous as it largely pleases the ear and eye, the second level is more psychological as it chiefly pleases the mind and mood, and the third level is more sublimate as it mainly pleases the will and spirit. In Chinese culture the affinity between man and nature can be traced back to the traditional conception of tian ren he yi 天人合一 as heaven-human oneness, which will be ultimately conducive to the artistic realm or aesthetic state of being. This paper was delivered at the XVI International Congress of Aesthetics on “Changes in Aesthetics” held during 18–23 July 2004 in Rio De Janiero, Brazil.     

Trinh Thuan and The Intersection of Science and Buddhism

Trinh Thuan, professor of astronomy at the University of Virginia, Charlottesville, since 1976, has published a number of books over the years that have touched on topics in the science‐and‐religion discussion. This essay reviews these volumes in light of a recent book he coauthored with Matthieu Ricard, a monk in the Tibetan Mahayana tradition with previous background and training in the biological sciences. The shift is observed in Thuan's views from at one point being attracted to a form of theism based on inferences drawn from the anthropic principle to later being intrigued by Ricard's explanations of the cosmos based on Buddhist consciousness theories. Thuan's journey as a scientist seeking further understanding is a lesson to the religion‐and‐science dialogue that more of the world's religious traditions need to be engaged with their specificities so that what emerges is an expanded conversation.     

“IF I WERE GOD”: EINSTEIN AND RELIGION

Designed as an introductory lecture for the conference “Einstein, God and Time,” this essay provides a brief survey of three sets of relations—between Einstein and time, God and time, and Einstein and God. The question is raised whether Einstein's rejection of absolute time held any implications for theology. It is argued that, despite Einstein's denial and his exemplary caution, the fact that Isaac Newton had associated absolute space and absolute time with a deity who constituted them meant that a revisitation of theological questions was inevitable. Consideration is then given to the time‐lessness and changelessness of God, with a brief reference to eschatological issues. The question whether there might be parallels between the renunciation of Newtonian time by physicists and by Christian theologians is discussed with reference to recent commentary on the eschatological thinking of Jürgen Moltmann. Whether Einstein himself would have sympathized with these theologies is to be doubted, given his antipathy to anthropomorphic and anthropopathic concepts of deity. Finally, in exploring Einstein's sometimes whimsical use of theological language, it becomes necessary to acknowledge that his well‐known affirmation of the complementarity of science and religion rested on a distinctive construction of religion that allowed him to say he was a “deeply religious unbeliever.” Attempts to categorize his convictions, or to appropriate them for conventional theistic purposes, miss their subtlety and their apophatic resonances.     

《周易》对《林兰香》叙事艺术的影响

《林兰香》是一部优秀的世情小说,它的叙事艺术有独特的风格,它模仿《易经》,采用了以“数”谋篇布局的叙事方法．《林兰香》八卷六十四回,六十四是《易经》卦数之总．《林兰香》叙事以八回作为一个单元,每八回有一个相对完整的故事或主题．这个故事或主题又往往孕育着与之不合谐乃至对立的因素．《林兰香》“倚数”结撰,其谋篇布局之法,体现了作者对人生命运的思考,在艺术上则形成了“循环往复”之美．     

RE‐ENVISIONING HOPE: ANTHROPOGENIC CLIMATE CHANGE,LEARNED IGNORANCE,AND RELIGIOUS NATURALISM

In this essay, I introduce religious naturalism as one contemporary religious response to anthropogenic climate change; in so doing, I offer a concept of hope associated with the beauty of ignorance, of not knowing ourselves in the usual manner. Reframing humans as natural processes in relationship with other forms of nature, religious naturalism encourages humans’ processes of transformative engagement with each other and with the more‐than‐human worlds that constitute our existence. Hope in this context is anticipating what possibilities may occur when human organisms enact our evolutionary capacities as relational organisms who can love, engaging in multilayered processes of changing behaviors, values, and relationships that promote the betterment of myriad nature.     

留学经验与艺术创造力

采用两个艺术创造力测量任务比较了中国留学生、德国大学生和中国国内学生的艺术创造力水平。使用共感评价技术作为评判艺术作品创造程度、技术水平等维度的方法。研究发现:(1)在艺术创造力任务中,中国留学生没有表现出比中国国内学生的优势,说明可能多元文化经验对创造力表达的影响是有条件的;(2)德国学生的艺术创造力水平高于中国学生,本结果支持前人研究中有关个人主义文化相对于集体主义文化更有助于创造力表达的相关假设;(3)共感评价技术是艺术创造力研究的有效工具。     

Church Attendance,Religious Activities,and the Life Satisfaction of Older Adults in Middletown,U.S.A.

ABSTRACT

The central focus of this study is to examine the patterns and relationships which may or may not exist between religious attendance and activity, sex, health, income, and age with regard to the sense of subjective well-being as expressed by older Middletowners. Based on a random sample of 400 persons, 60 years of age and older, a multiple regression analysis reveals that three variables account for the vast majority of variance in life satisfaction. Those variables are: SUBJECTIVE HEALTH STATUS, SATISFACTION WITH INCOME, and CHURCH ATTENDANCE. For those three variables R = .4780; R² = .2284. When all seven independent variables were included R = .4851; R² = .2351. In addition, further analysis was undertaken to examine the interrelationships between the seven independent variables.     

The realization of absolute beauty: an interpretation of the fairytale Snow White

This paper interprets the fairytale Snow White (Bruder Grimm 1857) in terms of the realization of absolute beauty. Jung's understanding that ‘in myths and fairytales, as in dreams, the soul speaks about itself’ (Jung 1945, para. 400), underpins such an approach. From this perspective a fantasy image is not about us, not about our unconsciousness, but is essentially about itself. The idea of absolute beauty first arises in the Queen's mind as a wish. Despite the Queen's strong desire to be named as the most beautiful person in the world, her mirror reflects that it is actually her daughter Snow White who is the fairest. Snow White might be regarded in the language of Giegerich as her internal other. Effectively they are separated into the Real that conceives the idea of absolute beauty and the Ideal that embodies it. The exchange that takes place between the two – mediated by mirror and window – generates the corpse of surpassing beauty that never decays but lies inaccessible behind the glass coffin. However the loving and penetrating gaze of the Prince, representing masculinity, succeeds in reanimating Snow White. Thus the Prince as the Other that is completely external and unknown to both the Queen and Snow White, specifically to their femininity, facilitates the realization of absolute beauty as the Ideal in the Real.