Viewing the Differences between Eastern and Western Educational Cultures from Confucius and Plato’s Educational Thoughts in the Axial Age

Through the comparison of Confucius and Plato’s educational thoughts in the Axis Age,the study of the differences between Eastern and Western educational cultures is based on the comparison of educational objectives,educational objects,educational methods,and educational content.There is a difference in the educational culture between the two in the special period of the Axis Age.From the open western idealism education and the introverted oriental materialism education,the similarities and differences between the Oriental Six Arts and the Western Seven Arts,the differences between the East and the West human education,and the differences between the education and training talents,respectively,the differences between the East and the West education culture are elaborated.Therefore,we can better deepen the understanding of the splendid civilization in the Axis era and discover the inadequacies of education through the comparison of Eastern and Western cultures so that our education can better absorb the essence,abandon the dross,and promote the vigorous development of education,improving constantly.

The Spirit of the Age in Mathematics and Art： The Eastern and Western Perspective Painting

Both mathematics and art consistently reflect the spirit of the age in which they arise. Consequently, the mathematics in China and in Korea during the Joseon Dynasty, in contrast to the deductive western mathematics, does not function on the basis of proving something deductively. Rather, the Chinese mathematics from this period was based upon making observations about problems by combining patterns with specific examples. In this paper, this author attempts to compare the differences in mathematics between the East and the West, and also to study the different perspectives in art between the East and the West, in order to identify the relationship between civilization, culture and the spirit of the age. This will explain the reason why the Western ＇One Point Perspective＇ had spread in China and the Chosen Dynasty, yet could not be permanently established in these countries.

The Mental Protection System for Protective Behaviors: The Social Brain and the Mental Immune System

The physical protection system of the body consists of the protective organs for vulnerable body parts-functions and the protective countermeasures against invaders (pathogens), but to survive, the body also requires the protective social groups for vulnerable social members-functions and the protective instinctive mental countermeasures against adversities such as hardship, danger, and unfamiliarity-uncertainty. As a result, this paper proposes that the mental protection system of the body consists of the social brain to set up the protective social groups for vulnerable social members-functions and the mental immune system to produce the protective mental countermeasures against adversities. This paper proposes that from the social brain, the protective social groups include alliance group for vulnerable individuals, kinship-friendship group for vulnerable children, interdependent specialists group for vulnerable pregnant females, territorial group for social boundary, connective group for social connection, and competitive group for social competition. From the mental immune system, the mental protective countermeasures include comforter against hardship, hyperactivity against danger, phobia against unfamiliarity-uncertainty, and rationality against unfamiliarity-uncertainty. The overactive mental immune system causes mental allergies and auto immune diseases as personality-mental disorders against ubiquitous harmful and harmless perceived adversities, correlating to physical allergies and auto immune diseases against ubiquitous harmful and harmless detected invaders. The mental protection system also produces personality traits, social moralities, social organizations, social systems, religions, and cultures as described in this paper. The mental protective system is the source of protective behaviors.

A Variety of Cultures Represented in English Language Textbooks： A Critical Study at Saudi University

Textbooks material is one of the important issues that are worthy to investigate in order to enrich student＇s engagement and interaction in EFL （English as a Foreign Language） classrooms. In this study, the author argues that textbooks materials used in academic institutions may well take a significant part in generating an active environment in EEL classrooms. It is believed that more opportunities will be created for students to be more involved, active, and able to understand the content being addressed more effectively. Yet, by looking at the textbooks being utilised （at a university context where the author teaches）, one can notice that student＇s culture （Eastern） is to a large extent missing in these textbooks, most of these books instead represent dominantly ＂Western＂ culture namely American and British cultures. This can deafly be depicted by topics discussed, pictures, clothing, names, and many other issues portrayed in these textbooks. This study is an attempt to challenge and problematize such domination of Western cultures portrayed in the content of English textbooks used in academic institutions not merely within Saudi Arabia but also extended to other countries and nations in the world.

从传统诗文评到当代文艺评论

诗文评是中国固有的文艺评论形态,来自于古代学术分类与目录学。它具备丰富多彩的表现方式,将价值思想、知识体系与文艺评论融为一体,讲究文艺鉴赏与文艺评论的直觉象喻,同时又有形而上的思辨性与日常生活的趣味性,通过论文、品第、选篇等方式进行评论。诗文评与现代文学批评和而不同,彰显出民族审美方式的特征,在当今仍然具有强大的生命力,同时也可以与文艺学相会通。通过深入的研究,诗文评必将融入现代文艺评论体系,成为人类共同的文明成果。

李泽厚“西体中用”原则下中西融汇之美学建构——以《美学四讲》为中心

迄今为止,对李泽厚的美学思想的阐释存在两种偏差。一种观点以国内学者为主,过于强调李泽厚美学理论对马克思主义的发展、对西方美学的借鉴,忽视了对中国美学传统思想的汲取。而另一种观点多见于国外,重视李泽厚美学思想对儒家思想的吸收,却忽略了其思想中蕴含的道家渊源。以《美学四讲》为中心,可以发现李泽厚美学理论中西方思想和儒道精神互补融汇的特征,其美学理论遵循甚至超越了“西体中用”的原则,在借鉴西方思想、研究路径的基础上,结合中国的儒道文化,走出了一条具有中国特色的理论构建之路。这种基于民族文化自信和开放包容的心态,以跨文化视域创造性地利用本土文化资源,创立自己学说的实践为今天国内的美学发展指明前行的方向。

中西融合理念下的文化自觉与文化妥协——陈季同、辜鸿铭和林语堂“翻译中国”文化解读

陈季同、辜鸿铭和林语堂在“翻译中国”的跨文化传播实践中展现出了鲜明的文化自觉意识,具体表现为中西文化冲突的问题导向意识、目的语语境趋同的读者接受意识和核心价值观的话语融合意识。他们横贯中西文化,裁选具有传统中国价值且与西方人文精神相契合的文化元素,通过创译蕴含中国印记的文学作品,力图化解中西隔膜,提升中国文化形象,实现中西融合的文化理想。同时,他们“翻译中国”的文化传播实践是用西方话语系统阐释中国,以弥合民族文化自我形象与他者形象的落差,这是对强势目的语规范系统的文化妥协,导致他们参照西方现代语境读取出的理想化的中华文化形象和现实中国之间存在脱节与错位。

再论两晋南朝时期的弹劾文化

两晋南朝时期,弹劾文化已经形成并趋于稳定。探讨这一时期弹劾文化机理是深入理解古代监察体制的重要视角,可以从三个角度加以阐释:其一是弹劾精神文化,两晋南朝的君主和大臣都极力弘扬弹劾精神,营造浓厚的弹劾文化氛围;其二是弹劾行为文化,君主通过各种制度手段规范监察官员的弹劾行为,增强其本身及弹劾实施的庄严性和权威性;其三是弹劾激励文化,君主从地位待遇及情感两个方面激励监察官吏,认同其职任身份,以刺激其敢于弹劾,更好地发挥监察效能。文章从多维度解释、分析两晋南朝弹劾文化,对构建中国特色社会主义监察体系亦具有重要的借鉴意义。

海事遗珍——清末外销画中的船舶画

以清末外销画中的船舶绘画为研究对象,探讨其发展背景、艺术特征和文化意义。分析认为其是一种具有双重视角和双重语言的艺术,既展现了中国画家对船舶的观察和理解,也体现了西方海事文化对近代中国文化的影响,是联通东西文化的视觉桥梁。

杜亚泉多元主义文化观再审视

作为五四时期知名的文化保守主义者,杜亚泉关注国际政局和世界形势,具有开放的文化心态。他对东西文明进行学理意义上的比较,主张多元主义和文化调和论,断定东西文明不仅是静的文明与动的文明的差异,而且是精神文明与物质文明的差异。他不承认西洋文明在总体上比中国文明优越和进步,认为中国文明可以“救济”西方文明,乃至对世界文明作出补救性贡献。这种文化调和论肯定中华文明有其自身的价值,力主通过东西文明的调和,创建以中国传统文明为根基的中国现代新文明,体现了对民族命运的关怀和对中华文明前途的担忧。这一思想顺应并揭示了五四时期东西文化交汇融合的发展趋势:思想自由、价值多元与开放包容的格局。但他夸大了西方近代文明的弊端,误解了欧战对西方近代文明的消极影响,仅仅看到两种文明的民族性差异而否定两者之间更为明显的时代性差异则是错误的,这无益于东西文化问题的真正解决和中国现代新文明的建构。

Individualism and Collectivism

The world could be analyzed in many dimensions,like rich and poor,peace and warfare,equal and oppressive,but one of the most important dimensions may be the difference between different societies of individualist and collectivist.This article is trying to discuss is the difference between individualism and collectivism in the western and eastern cultures,and also will explain and discuss it in some aspects,such as their viewpoint,their attitude on self-enhancement and self-criticism,and the goal setting and motivation,and take some cases which some researches and psychologists did and some cases found for example to describe it.Also it presents that social orientation and environment,and culture background will take important role to impact people’s mind and choice on individualism and collectivism.No matter individual or collective,it all have advantage and disadvantage for each,it needs comprehensive evaluation for differential environment which can obtain relative reasonable conclusion.

中西方文化融合背景下中国武打电影动作设计初探

据统计,世界排名前100强的电影中,好莱坞动作大片占60%左右,动作电影也是中国电影的主力军,动作电影票房的产出占总票房,30%左右。从20世纪20年代的《定军山》到《卧虎藏龙》《功夫》《七剑》《功夫之王》等影片,中国动作电影迎来了前所未有的发展高潮,同时也造就了程小东、李小龙、成龙、李连杰和吴京等一大批具有世界影响力的电影创作人才。中国动作电影的发展促进了电影制作的技术创新,提高了电影生产力水平,促进了电影制作技术的进步,扩大了电影产业的规模。基于此,文章以中国武打电影为例,运用文献资料法、逻辑分析法和访谈法等研究方法,通过从中西文化融合和中国武打电影两方面的研究,分析中国武打电影中动作设计特点,为从事影视行业的武术运动员提供资料性研究。

中西文化碰撞下武汉近代民居建筑的发展——以汉口里分为例

汉口里分既是武汉近代中西文化相融合的物质代表空间,也是武汉市民气息的精神文化反映,具有较高的艺术与历史文化价值。本文以武汉近代民居建筑的代表性空间汉口里分为例,探讨其中西文化交融背景下的建筑功能、建筑形象和建筑布局特征。

建筑“显隐边界”的消融——宁波国际礼拜堂的文化连贯性设计策略

在跨文化的建筑设计中,由于异质文化的碰撞,形成了诸多建筑与城市、社会、文化、人群之间或显或隐的问题和界限。本文结合宁波国际礼拜堂的设计实践,梳理了中国化基督教建筑存在的“显隐边界”问题,以溯源本质、再塑表达的总体设计理念,探讨不同而和的消融边界的创作思路和设计手法,最终实现建筑中的文化连贯。

由动物书写看高罗佩狄公案小说对中国公案小说的接受与创新

中国公案小说中有着丰富的动物书写情节,因受中国古代思想、文化浸润及文学动物书写传统的影响而突显出神异性色调。荷兰汉学家高罗佩的狄公案小说一方面借鉴了传统公案小说的动物书写情节,另一方面又淡化了此类情节的神异性和果报观念,强化了客观逻辑与科学化思维。这既反映出西方侦探小说对他的影响,更折射出他在接受中国文化时的理性思辨意识。在此基础上,他赋予动物书写情节以跨文化传播的功能,投射出他对中国文化的体悟。通过小说中的动物书写,他既开辟了观照中国古典文学的特殊视野,又参照、借鉴了西方通俗文学的创作传统,于中西文化会通中实现了“华风西被”的祈愿。

文化传播学视角下四川汉藏民居形制差异及成因探究——以川西、川东北七村为例

传统民居根植于其独有的自然与社会背景,形成了丰富的形制特征,具有很高的历史价值。文章基于田野调查及相关资料,基于文化传播学的视角,分析川东汉族、川西北藏族民居在平面及立面形制、空间类型、材料结构等方面的差异,并解析其背后之地理条件、生产方式、文化信仰、传统观念、移民文化等方面的成因,进而从文化传播视角发现四川境内汉族、藏族民居形态之生成与差异机制。

拜占庭文化的历史价值新论

存在了千余年的拜占庭帝国,和中世纪的西欧、北欧等地区不同,集中体现了东地中海地区希腊文化向中世纪文化过渡和转型的特殊进程。由于地理和战争等多方面的原因,一部拜占庭文化史,其实就是人类历史上东西方文化长时期大规模碰撞和交流的历史。可以说,拜占庭开辟了大规模东西方文化交流的新时代,这是其最大的价值所在。拜占庭人在文化上的功利性的实用主义态度,向后看的文化视野和首都与外省、作家群体之间的隔膜,是导致其千余年文化兴衰的重要原因。

试论两晋南朝时期的弹劾文化及其时代启示

两晋南朝时期是中国古代监察制度的成熟时期,监察机构和官员的设置逐渐专业化,弹劾程序日益固定化,弹劾文也出现了格式化的倾向,许多弹劾先例和“故事”也成为后来实施监察时的理论依据和事实支撑,而被援引。两晋南朝时期形成了一支稳定的刚正不阿的监察官吏队伍,涌现了一批重要的监察官员和家族,弹劾文化日趋稳定,深刻地影响这整个官僚群体的日常行为和国家治理。两晋南朝时期的弹劾文化对当下的监察体制改革也具有重要的启示价值。

东西方文化中对时间概念的认知差异探析——以“星期”为例

受到千百年来不同地域、不同社会背景及历史的影响,东西方文化中对时间的概念认知差异很大。了解东西方文化对“时间”的认知差异对于促进世界各国之间的交往具有深刻意义。只有通过深入探索和了解这些差异,并寻找合适的应对策略才能帮助我们更好地理解不同文化对时间观念的态度和价值观,加深对不同文化背景的了解和尊重,可以促进彼此之间更好地沟通和协作,并避免出现文化冲突和误解,实现跨文化交流与合作真正意义上的成功。该文从“星期”这个人们耳熟能详的时间概念入手,探究其背后蕴含的文化与历史价值,同时助力于当前形势下中国文化的形象塑造及推广。

浅谈艺术陶瓷绘画的东西方美学融合与发展

陶瓷绘画艺术从珠山八友时期延续至今,逐渐衍生出现当代艺术陶瓷的概念,当今,景德镇陶瓷大学以及各大陶瓷美术专业不断培养更加年轻化、当代化的陶瓷艺术工作者,有力促进了当代艺术陶瓷东西方文化的融合与发展。