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试论“虚静”说与“距离”说 被引量:1
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作者 郑莉 《淮海工学院学报(人文社会科学版)》 2015年第5期20-24,共5页
道家的"虚静"说与西方的"距离"说都是审美鉴赏中审美主体的态度和修养,二者在揭示审美活动主体作用的特征上表现出很大的一致性,不仅在于二者都是进入审美活动之前,审美主体对审美客体的一种有动机的选择性的行为,... 道家的"虚静"说与西方的"距离"说都是审美鉴赏中审美主体的态度和修养,二者在揭示审美活动主体作用的特征上表现出很大的一致性,不仅在于二者都是进入审美活动之前,审美主体对审美客体的一种有动机的选择性的行为,同时,二者都是强调在审美观照中保持一种非理性的、无功利的态度。然而,由于"虚静"说和"距离"说是在不同的文化中孕育出来的,因此,二者之间仍然存在巨大的差异。首先,道家的"虚静"说与西方的"距离"说产生的哲学渊源不同;其次,"虚静"说主要强调物我两忘的状态,而"距离"说主要强调物我有别;再次,道家的"虚静"说比西方的"距离"说适用范围更广。 展开更多
关键词 “虚静”说 “距离”说 审美
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从“虚静说”和“距离说”看中西艺术鉴赏论的差别 被引量:1
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作者 杨佰才 《鸡西大学学报(综合版)》 2013年第5期99-100,共2页
作为中西艺术鉴赏论的代表性旨趣,"虚静说"和"距离说"有着极为相似的理论内涵,两者都属于审美态度论范畴,都讲求审美主体在审美活动中心理状态的无直接功利性和审美悟性。但它们毕竟产生于不同的文化地域,影响其发... 作为中西艺术鉴赏论的代表性旨趣,"虚静说"和"距离说"有着极为相似的理论内涵,两者都属于审美态度论范畴,都讲求审美主体在审美活动中心理状态的无直接功利性和审美悟性。但它们毕竟产生于不同的文化地域,影响其发展的文化背景和哲学基础也有天壤之别,这就使得"虚静说"与"距离说"同样蕴含着截然相异的审美理想。就此,试从两种范畴的审美倾向入手,对中西艺术鉴赏论的差别做出有价值的探索。 展开更多
关键词 “虚静”说 “距离”说 中西比较诗学 审美鉴赏论
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Seed Shadow of Quercus liaotungensis in a Broad-leaved Forest in Dongling Mountain 被引量:20
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作者 王巍 马克平 刘灿然 《Acta Botanica Sinica》 CSCD 2000年第2期195-202,共8页
The seed shadow of oak ( Quercus liaotungensis Koidz.) was investigated in a broad_leaved deciduous forest in Dongling Mountain in 1997. The seed rain patterns under oak tree crown for three out of four oak trees fit... The seed shadow of oak ( Quercus liaotungensis Koidz.) was investigated in a broad_leaved deciduous forest in Dongling Mountain in 1997. The seed rain patterns under oak tree crown for three out of four oak trees fit quadratic distribution, with high coefficients of determination. For each of the four trees selected in this study the seed rain size estimated from the viable acorns collected from the traps deployed under the crown was low, ranging from 26 to 259. For each of the four oak trees, the average density of the seed rain under oak tree crown ranged from 0.76 to 7.26 seeds/m 2. The average seed rain density estimated from the acorns in the traps deployed randomly in the field was 1.57 seeds/m 2. After all viable acorns fell, the acorn ground density estimated from the acorns in the quadrats was 0.13 seeds/m 2, but no viable acorns were found on the ground under the tree crown of the four oak trees, although the area under the crown was over 5 folds than the area of the combined quadrats. These results indicated that a large number of acorns was removed or predated by vertebrates once the acorns fell on the ground and acorns predation was more intensive in the sites directly under the parent trees than the sites away from the parent trees; this supports the distance_dependent hypothesis. Of the total acorns of all four oak trees, the viable acorns only accounted for 18.1%, and 17.8% for acorns infected by insect larvae, 12.1% for immature acorns, 3.6% for decayed acorns, and the acorns predated by rodent directly in the crown was the highest, accounting for 48.4%. The proportion of acorns predated by animals including vertebrates and invertebrates amounts up to 78.3%, indicating that acorn predation by animals is a limiting factor affecting acorn survival before seed dispersal. The sustained time of viable acorn fall ranged from September 8 to October 3 for the four oak trees, with the peak between 16th and 26th September. The number of acorns was not significantly different among the four directions around the trunk base. 展开更多
关键词 seed shadow Quercus liaotungensis seed fate
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以喜剧方式处理悲剧题材之艺术辩证法分析
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作者 严天武 《安徽理工大学学报(社会科学版)》 2014年第3期68-72,共5页
古希腊悲剧题材大多一悲到底,悲的彻底,很少有喜剧因素植入其中;中国古典早期悲剧大多以大团圆方式结局,悲的不彻底,除结尾外故事中也鲜见喜剧因素。莎士比亚大胆将喜剧因素植入悲剧题材,创造出令人称快的悲剧艺术;中国从封建末期的讽... 古希腊悲剧题材大多一悲到底,悲的彻底,很少有喜剧因素植入其中;中国古典早期悲剧大多以大团圆方式结局,悲的不彻底,除结尾外故事中也鲜见喜剧因素。莎士比亚大胆将喜剧因素植入悲剧题材,创造出令人称快的悲剧艺术;中国从封建末期的讽刺小说开始,也随处可见悲中带喜、悲喜交融的悲剧作品。这些都说明了以喜剧方式处理悲剧题材是符合艺术辩证法的,这可以从作品本身、作家层面、读者角度和审美世界等四个方面来分析其合理性、必要性、科学性和时代性。 展开更多
关键词 坎卦 无蔽 “距离”说 艺术真实 主体间性 二律背反 审美境界
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