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aesthetics     
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  美学
    Transcendence and Integration: A Commentary on HU Jing zhi′s Studies of Aesthetics of Literature and Art
    超越与整合——评胡经之的文艺美学研究
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    Reception Aesthetics and Literary Translation
    文学翻译的接受美学
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    The aesthetics of art I understand
    我所认识的艺术美学
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    On “Separation of the Universe From Man”──Fifth Explanation to Chinese Aesthetics
    “天人相分”──中华美学命题诠释之五
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    On the composition of Aesthetics of Arts
    关于艺术美学建立的初步思考
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  审美
    Unique Aesthetic Thinking System and Poetic Aesthetic Theory——On General Characters of the Oriental Aesthetics
    独特的审美思维体系与诗性的美学理论——东方美学的总体特征论
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    Relationships Among Art Creation Aesthetics and Education
    论艺术创造及审美与艺术教育之关系
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    Aesthetics of Literary Language and Translation
    文学语言的审美性与翻译
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    A Tentative Speculation upon Modernity and Modern Aesthetics
    现代性与现代艺术审美刍议
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    On the Ecological Aesthetics in Modern Art
    现代艺术的生态审美批判
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  美学的
    Variation of Politics and Aesthetics
    政治与美学的变奏
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    Thoughts on Modern Design and Technology Aesthetics
    现代设计与技术美学的思考
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    Unique Aesthetic Thinking System and Poetic Aesthetic Theory——On General Characters of the Oriental Aesthetics
    独特的审美思维体系与诗性的美学理论——东方美学的总体特征论
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    Contradiction Between Philosophy of Art and Aesthetics
    论艺术哲学与美学的对立
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    Romanticism of Aesthetics and Romanticism of Politics
    美学的浪漫主义和政治学的浪漫主义
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    A Comparison of the Aesthetics in Elegies of Chinese and English
    品读中西文化 审视异样之——中英悼亡诗之学比较
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    However,the study on ugliness today in aesthetics has become less and less nowadays,it is necessary to do some research on ugliness.
    然而现今学理论界对于“丑”这一审范畴的研究较之来说是少之又少,因此对于“丑”的研究是尤为必要而又重要的。
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    On Gap Aesthetics and Construction of Literary and Artistic Creation
    论文艺创作的空白及其建构
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    On Representation of Aesthetics in Tragedy
    悲剧表现方法论
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    Neutral Aesthetics: An Exploration by Grammatical Analysis
    中和之:作为一种语言结构意义分析之初探
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  aesthetics
Hence a study ofseppuku enables us to understand better the unique cultural tradition and "aesthetics of death" in an otherwise highly technological and robust industrial society.
      
Power and Self-Cultivation: Aesthetics, Development Ethics and the Calling of Poverty
      
In this paper, I explore the ideal of self-cultivation as it confronts the holders of power and our practice and understanding of ethics and aesthetics.
      
I take the ethical deliberations in the field of development, that is, development ethics as an exemplar of ethical reflection today, and look at aesthetics through the contemporary quest of and reflections on self-cultivation.
      
If aesthetic judgement is to be a model for its political counterpart, as has been argued by theorists like Lyotard and Arendt, it cannot do so on the basis of this aesthetics of violent immersion.
      
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The essence of Noman Ingard's pheonomenological epistemology can be classified into four categories, namely, objectification, concretization, aesthetic experience and concretized reconsideration of aesthetics. The application of these four categories could help to reveal the whole process of reading activity and enable readers to experience in reading literary works its uninterrupted activity of intention.

罗曼·英加顿现象学文学认识论的实质是以客观化、具体化、审美经验、审美具体化反思四个范畴来展示阅读活动的全过程——体验作品的川流不息的意向活动。

There are different motives of artistic creation in ancient China, viz.,those of voicing one's feelings and expressing one's emotions; those of self-entertaining and entertaining others;and those of for the benefit of the country and society. The motive of voicing one's feelings differs from that of expressing one's emotions, but they are related to each other. They had given a positive impetus in the development of ancient art. However, either of them have some drawbacks. If the two are to be cut apart or even...

There are different motives of artistic creation in ancient China, viz.,those of voicing one's feelings and expressing one's emotions; those of self-entertaining and entertaining others;and those of for the benefit of the country and society. The motive of voicing one's feelings differs from that of expressing one's emotions, but they are related to each other. They had given a positive impetus in the development of ancient art. However, either of them have some drawbacks. If the two are to be cut apart or even treated antithetically, an erroneous trend in artistic creation will be created. The motives of self-entertaining and entertaining others outstandingly embody the aesthetic nature of the art. Under this outlook, aesthetics is assiduously pursued, which continuously pushes to renovate the content, form and means of artistic expression. However, if creation is simply motivated by personal temperament and interest, the content tends to be vague and shallow, and the form and style tend to be over-stilted. The creation tries to please people intentionally, which lnevitably leads to fawning on vulgarism and mean taste. The motive of for the benefit of the country and society focuses on the influenece of the works on society. It is against formalism, and approves of the tradition of "art for life", but it has another side:leading a life by pursuing personal fame and gain. Utilitarianism is also an lmpetus to artistic creation. Only in the case when deeply-embedded feelings are amalgamated with the characters which meet the aesthetic need of the people, call successful works be produced. The motive of artistic creation reflected on the artists often reveals sophisticated situations.

中国古代关于创作动因论的理论主要有言志缘情说、畅神娱人说、经世致用说等几种。“言志”说和“缘情”说既有不同,又有联系,都对我国古代艺术的发展起了积极的作用,但又都存在某种缺陷,如果把二者割裂甚至对立,就会导致艺术创作错误倾向的产生。“畅神”说和“娱人”说,突出地体现了艺术的审美本质。在这种创作观的指导下引起的孜孜不倦的审美追求,推动着艺术内容、形式和手法的不断更新。但仅为个人情趣、爱好而创作,也易造成思想空泛、过于雕琢形式的弊端;一心想取悦于人,还必然会媚俗,格调低下。“经世致用”说,着眼于艺术的社会影响,形成反对形式主义、主张为人生而艺术的传统,但也有为个人名利或谋生的。功利也是艺术创作的推动力,但只有蕴含深沉的情感,能与艺术创作应满足人们的审美需要的性质相融合,才可能产生成功的作品。艺术创作的动因,表现在一个艺术家的身上,往往显现复杂的情况。

Fables:Poems of Philosophy,by Gu Jianhua has achieved a fruitful exploration in viewing fable from an aesthetic point of view. From the four aspects,the art,lessons,forms and styles embodied by fables, the book fully displays the aesthetic glamour of the fables.By briefly narrating the history of fables of both China and abroad,the book investigates the works of modernistic fable writers,and serves as a refernce for the education and research of fable aesthetics.

顾建华的《寓言:哲理的诗篇》一书对寓言从美学角度进行了卓有成效的探索,在寓言艺术、寓言教训、寓言形式、寓言风格4个方面阐述了寓言艺术的美学魅力,并对中外寓言史作了简明扼要的概述,初步探讨了现代主义作家的寓言作品,是一本寓言美学教育和研究的参考书籍。

 
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