浅谈符号学在室内设计中的表达与应用     

王锐  田柳 《辽宁科技学院学报》2010,12(4):64-66

室内设计作为人类典型的创造性文化活动,其符号特征鲜明而深刻,本文通过对符号学理论以及符号学室内设计关系的研究,探讨了符号在室内设计中的合理表达与应用,从而更加充分表现出设计作品的特点。  相似文献   

"儿童本位的小说"——从儿童心理看儿童小说的审美特征     

时翠萍 《安阳工学院学报》2006,(3):101-104

儿童文学的概念历来是文学界讨论的焦点。郭沫若提出儿童文学是“儿童本位的文学”及后人的总结都离不开儿童心理的因素。儿童本位的小说正是以自己的审美特征展示了儿童的心理,展现了儿童小说的无穷魅力。  相似文献   

审美创造中的"迁想妙得"     

刘志刚 《辽宁科技学院学报》2006,8(3):67-68

文章根据东晋画家顾恺之所提出的"迁想妙得"的审美观点,阐释了审美创造中"迁想妙得"的实质,即在创作中,审美主体必须充分发挥自己的想象力,对所见、所写、所画的对象进行联类想象,进行形象思维,并艺术而又创造性地表现出对象的特点.  相似文献   

More than relations between self,others and nature: outdoor education and aesthetic experience     

John Quay 《Journal of Adventure Education & Outdoor Learning》2013,13(2):142-157

Self, others and nature (environment) have been suggested over numerous decades and in various places as a way of understanding experience in outdoor education. These three elements and the relations between them appear to cover it all. But is this really the final word on understanding experience? In this paper I explore two emphases within experience expressed by Peirce that offer differing ways of understanding experience: in one emphasis self, others and nature are submerged and not discerned; in the other they appear as the three familiar and related elements. The first emphasis is phenomenological and focused on a simple whole; the other is pragmatic and concerned with a total whole (elements in a totality). The key distinction here is that between something simple (one-fold) and something total (manifold). For Heidegger the difference between these is the ontological difference, where the two differing emphases are be-ing (verb) and beings (noun); or, expressed in another way, phenomenological thinking and calculative thinking. For Dewey these two emphases are revealed as aesthetic and reflective experience, both connected via inquiry. Awareness of this difference and connection suggests that issues involving self, others and nature as elements emerge from and return to the aesthetic ways of being (or occupations) that we build through our programme design and conduct. Relations between self, others and nature are submerged within these ways of being, highlighting how our programme design and conduct does not merely concern activities (including reflective activities), but involves building ways of being.  相似文献   

生态美学视野中的建筑美学研究     

马草 《乐山师范学院学报》2013,(6):121-124

作为当今世界前沿的美学理论,生态美学在哲学基础、思维方式、研究方法等方面有着巨大的理论优势。当代建筑美学可以吸收生态美学的理论优势,挖掘自身生态维度,不断拓宽、深化自己的研究,从而更好地理解、体验建筑美。这可以从三个方面进行有益的尝试,即从有机整体视野、文化生态与审美参与三个角度拓展建筑美学研究。  相似文献   

浅论苏轼“以才学为诗”     

张国荣 《乐山师范学院学报》2013,28(3):10-16

宋代诗人喜欢"以才学为诗"。苏轼尤甚。苏轼之所以喜好"以才学为诗",自有其不便言说的独特的创伤初衷,这就是:(1)要抒胸中"忧愁不平气",(2)作家(诗人)与学者兼于一身特殊身份所使然,(3)强烈开宗立派意识所驱使。由此形成了苏轼独特的文本类型,即:(1)用典使事型,(2)多次韵型,(3)艺术鉴赏型,(4)因物寓理型。同时,苏轼在"以才学为诗"的实际操作中,自有其一套与之相适应的审美特征:一是经史百家学问穿插互用;二是以才学寓托诗人心志和寻求精神之"适";三是凭才学拓展诗歌题材。此外,苏轼"以才学为诗"具有极其重要的创作意义。  相似文献   

《白苍鹭》中的美学意境     

李敏 《牡丹江教育学院学报》2013,(3):5-6

《白苍鹭》是美国乡土文学作家萨拉.奥恩.朱厄特的短篇小说代表作,本文从其美学意境的角度出发,分析文中所展现的情感美与形象美,探讨人类对真、善、美的永恒追求。  相似文献   

“漂泊……是一切艺术家的生活”——试论田汉对漂泊母题的艺术审美提升     

曹艳红 《宁波广播电视大学学报》2013,(3):14-16,56

田汉热爱漂泊生活,既从自身经历感受到了漂泊的永无止境,又把现实生活和艺术追求结合在一起,以此审视漂泊母题,使得漂泊母题得到了艺术审美的提升.田汉认为漂泊母题的审美特质有两大方面,一是自由,二是神秘.田汉对漂泊母题的这种开拓,强调超脱现实的艺术境界,在中国现代文学史上可谓独树一帜,为漂泊母题叙事文学创作引领了一个新方向.  相似文献   

论第四代导演电影美学风格的文化意义     

董广 《宁波广播电视大学学报》2013,(3):112-115

第四代导演的影片呈现出一种诗化与纪实相融合的美学风格,而不只是单纯的纪实美学.这种电影美学风格具有深刻的文化意义.他们的作品不仅在客观、冷静地陈述中较好传承了历史积淀的悲剧精神,而且从平民视角审视社会历史现实,完成了对人文精神和人道主义情怀的讴歌,同时还带有一定的民族色彩.这些都开拓了民族电影发展的空间,加快了中国电影走向世界的进程.  相似文献   

“Not exactly a model of good hygiene”: theorizing an aesthetic of disgust in the Occupy Wall Street movement     

Luke Winslow 《Critical Studies in Media Communication》2017,34(3):278-292

This article explores the pathologizing of social protesters by theorizing an aesthetic of disgust in Occupy Wall Street media coverage. By cataloguing the hygienic deviance of the Occupy movement, I aim to illuminate an important countermobilization technique that disciplines and contains the grotesque function of the Occupy encampments. Examining media coverage of the Occupy movement, I show how aesthetic dimensions—including visual and olfactory sensations related to the bodies of the protesters and their encampments—were used to establish a relationship among hygienic deviance, moral impurity, economic failure, and ultimately the disposal of the protesters. I close by connecting an aesthetic of disgust to larger conceptual issues related to the viability of social protest in an era of neoliberal governmentality.  相似文献