"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。     

"人工美女"意味着什么--浅析"人工美女"效应

"人工美女"的产生是社会进步、思想开放的结果,也是市场经济发展结果.一方面,社会进步、思想开放,给予美容受术者以足够的尊重和理解,使他们有了选择不同生活方式的自由,敢于公开"露脸";另一方面,市场经济的发展使她们愿意公开"露脸".而商家为谋取经济利益,打着"人工美女"的旗号,刻意进行商业炒作,将伤及广大消费者,危及美容外科行业.我们应以科学的态度、实事求是的精神予以坚决抵制,倡导在追求形体美和容貌美的同时,注重心灵美的培养,营造出一种真、善、美的社会环境.     

孙思邈中医美学思想初探

孙思邈的<千金方>中蕴涵着深刻而丰富的中医美学思想,他继承和发展了和谐统一的整体观,十分重视医务人员的美德修养,并将中医美容的理论与实践提高到一个新的水平,注重环境美对人体美的影响.他的许多观点至今仍具有重要的现实意义.     

The Suspended Aesthetic: Slavoj Žižek on Eastern European Film

Slavoj iek's writings on Krzysztof Kies´lowski and Andrej Tarkovskij represent direct challenges to the Central and Eastern European tradition of spiritual art and to dominant aesthetic concepts as such. He refuses to separate the solemn films of Kies´lowski and Tarkovskij from popular culture and stresses their import as ethical statements by their directors. Despite this ethical emphasis, iek makes an important contribution to philosophical aesthetics. He implicitly defines art as a suspension of reality which reveals time in its fragility and potentiality. Defining iek's aesthetics in terms of suspension helps to explain his partiality for Kies´lowski and Tarkovskij and bears comparison to the Russian tradition of philosophical aesthetics, in particular Aleksej Losev and Alexander Bakshy.     

MATRIX THINKING: AN ADAPTATION AT THE FOUNDATION OF HUMAN SCIENCE,RELIGION, AND ART

Intrigued by Robinson and Southgate's 2010 work on “entering a semiotic matrix,” we expand their model to include the juxtaposition of all signs, symbols, and mental categories, and to explore the underpinnings of creativity in science, religion, and art. We rely on an interdisciplinary review of human sentience in archaeology, evolutionary biology, the cognitive science of religion, and literature, and speculate on the development of sentience in response to strong selection pressure on the hominin evolutionary line, leaving us the “lone survivors” of complex, multiple lines of physical and cultural evolution. What we call Matrix Thinking—the creative driver of human sentience—has important cognitive and intellectual features, but also equally important characteristics traced to our intense sociability and use of emotionality in vetting rational models. Scientist, theologian, and artist create new cultural knowledge within a social context even if alone. They are rewarded by emotional validation from group members, and guided by the ever present question, “Does it feel right?”     

徽州古民居:《周易》美学思想的体现

徽州古民居乃中国古代建筑艺术之宝库,传统文化之精髓,而《周易》又是中国传统文化之源头活水,其"天人合一"、"保合太和"、"唯变所适"的美学思想对徽州古民居产生了深远影响并在徽州古民居中有着明显的体现。研究徽州古民居所体现的《周易》美学思想,有助于体认其所蕴含的深厚的中国传统文化,这将有助于更好的保护和宣扬徽州古民居,从而让更多的人来感受它的美。     

Toward a new transcendental aesthetic: Merleau-Ponty’s appraisal of Kant’s philosophical method

ABSTRACT

In light of the central role scientific research plays in Merleau-Ponty’s phenomenology, the question has arisen whether his phenomenology involves some sort of commitment to naturalism or whether it is better understood along transcendental lines. In order to make headway on this issue, I focus specifically on Merleau-Ponty’s method and its relationship to Kant’s transcendental method. On the one hand, I argue that Merleau-Ponty rejects Kant’s method, the ‘method-without-which’, which seeks the a priori conditions of the possibility of experience. On the other hand, I show that this does not amount to a methodological rejection of the transcendental altogether. To the contrary, I claim that Merleau-Ponty offers a new account of the transcendental and a priori that he takes to be the proper subject matter of his phenomenological method, the method of ‘radical reflection’. And I submit that this method has important affinities with aesthetic themes in Kant’s philosophy.