从“意无言”走向“言达意”——项目导学指向儿童言语智能发展的实践探析

教学中常常有些学生“敏于文而讷于言”或言不达意,指向儿童言语智能发展的项目导学或可解决这一问题。项目导学是以任务驱动、挑战创生等为核心活动的系列化言语训练实践模式,它顺应儿童言语习得的特点,让学生在真实场域中平衡自我,凝练语言,大胆言说,使言语智能的发展从“意无言”走向“言达意”。

论《沧浪诗话》的诗歌言意观

严羽《沧浪诗话》的诗歌言意观是其诗学体系的重要组成部分,是中国文论传统主题"言意之辨"在诗学视域下的独特阐释。首先,凝练的诗歌语言要能准确地抒情达意,言意互通;其次,含蓄蕴藉的诗性语言会生发出无限的韵外之致,达到"言有尽而意无穷"的境界;最后,通过"以禅喻诗"的方式进行"妙悟",突破言意之间的本体特征,达到超然物外的境界。严羽的诗歌言意观丰富和发展了中国诗歌理论与传统艺术思维,对后世产生了深远影响。

中国传统人物线描的现代反思

立足于北京服装学院造型艺术系必修课程"白描人物临摹与写生"的教学实践,结合当今高等服装院校中绘画专业的培养现状,对中国传统人物线描在现代高校教学目标、方向、内容与意义的语境下进行讨论,主张对传统的发展实际是对人本的回归,当代艺术中线的运用与表现应还原为对自然与心灵的的彰显上来。由此提出重新认识传统艺术精神体系、结合当代社会审美需求、艺术实践应建立在理论学习基础上的观点,形成对该课程改革与完善的建议。

Love Expressions by American and Chinese University Students

Male and female speech is different in many ways. This study intends to compare and contrast love expressions used by American and Chinese university students. The participants of 40 university students, including American male university students, American female university students, Chinese male university students, and Chinese female university students, were selected randomly. Each of them was given one questionnaire. There was an introductory question, which aimed at finding out whether the participants would choose to express their love in verbal or written language, and if they would, how they would express it. Then the participants were channeled into the four different parts. Results showed that male university students of both nations were more eager to express their love and also had less constraints and pressure compared with their female counterparts did. American university students of both genders were more open and direct when they expressed their love, whereas Chinese university students of both genders were more reserved and tended to express their love indirectly.

中国佛教艺术中菩萨的中性化造型

以中国古典哲学为依托的传统佛教艺术 ,以“言”为表现形式 ,以“意”为表现内容 ,从一开始就脱离了照搬生活真实的轨道 ,其真实性表现为艺术上的真实。在中国传统佛教艺术造像中我们发现中性化了的菩萨造型 ,其特征为 :中和或弱化两性生理特征 ;仅以衣饰、发型、五官、体态方面部分地提示性别特征 ,更多地表现为性别的模糊化 ;艺术语言上结合了代表阳刚之气的“方”造型与代表阴柔之气的“圆”造型 ,中和阴柔与阳刚两种审美特征。本文论述的“中性化造型” ,区别于生物学、社会学等领域的“中性”概念 ,是一个美学范畴 ,指在传统佛教艺术中菩萨形象的造型领域中 ,通过“中性”一词的提出 ,把对这一特殊造型样式的分析作为学习和探究中国传统艺术精神的视角 ,从而拓展对传统艺术的认识。