论陈老莲的艺术本性

陈老莲身处明清两朝鼎革的交替年代,在继承前人艺术成果的基础上突兀誓醒地向时人展现了自己艺术方面的怪诞与装饰乏美。他的艺术成就源于他坎坷的人生经历、独树一帜的美学理念、独到的审美观和娴熟的绘画技巧。他的艺术作品不但反映了他自己意识价值现,而且也是对他所处时代的一种折射。他是中国美术史上一位杰出的艺术家。

跨时代视野下的艺术创造:当代艺术创作探寻

艺术的发展变化从来都离不开时代语境下的不断变迁。动荡的年代总会引发艺术上哲理的思考,正如高更的那幅《我是谁?我从哪里来?我要到哪里去?》是对人生的追问,亦如禅宗存在的追问。新时代下,“为什么画?画什么?怎么画?”成为诸多艺术家思考的问题。以史为鉴可以明志,亦可为吾辈带来答案,因此笔者将带着观者从历史中寻找答案。

从《千与千寻》看宫崎骏动画的成长主题

宫崎俊把对孩子成长环境的担忧有机地揉入《千与千寻》中,使这部作品逐渐演化为一种对社会深切、神圣的责任感。本文以其部分剧场动画为研究对象,通过分析作品故事情节、艺术意蕴、审美理想,深入反省、剖析个人乃至整个人类成长历程中的功与过。

在市场化年代的世俗中升华

市场经济对文学的冲击有目共睹。徐肖楠教授提出“市场化年代的文学”这一命题,作出应答与阐释。中国小说学会第七届年会上,徐教授偕几位研究生提交一组系列论文,对市场化文学的各种特征、现象、侧面进行了包抄式的探讨。这里发表的一组笔谈,就是他们的论文浓缩的精华,我刊及时刊发,以期能引起更广泛的关注和讨论。

Affirming Art： Heidegger and the Sense of a Beginning

This essay offers a philosophical perspective that, in breaking with both the open and surreptitious dialectical method still so prominent in academic discourse, follows Heidegger in trying to conceive of a radically non-dialectical manner of approaching affirmation, negation, and neutrality. As with Heidegger, this is attempted through a turn towards art and the ＂emancipated contingency＂ that characterizes much creative production. In contrast to action and production within the knowledge economy, the creation of the artwork concerns a knowing of unknowingness （described by Maurice Blanchot as the neutral） that demands a rethink of action in relation to truth and errancy. Indeed, the very working of the work of art is conceived here as a truth that is precisely ＂set to work＂ （Heidegger） by errancy. Through a consideration of the essential difference between choice and decision and the different ＂beginning＂ of art that this suggests, the essay concludes with some reflections of the theme of art＇s fascination and the and the affirmation of the unknown.