浅谈舞蹈美学与中国民族舞表演艺术

在人们大肆谈论着绘画美学、建筑美学、摄影美学的今天,舞蹈美学似乎由于它特有的专业性以及受众人群的局限性,始终站在一个客观的角度上,曲高和寡的傲立着。     

我国古典园林建筑艺术中的传统美学

中国古典园林是建筑、山水、绘画、雕刻、园艺、以至诗文等多种艺术的综合体.我国现存的古典园林,保存了大量的建筑艺术瑰宝,体现了特定时期的特定审美标准,这一审美情趣对我国园林建筑艺术的发展有着很深的影响.本文从我国古典园林建筑发展、立意和布局三个方面,浅析了我国古典园林建筑艺术中的传统美学.     

创新性会展设计美学人才培养模式初探——以浙江育英职业技术学院为例

本文以分析浙江省独特的会展资源为主线,通过对行业地域性优劣势的剖析,结合会展策划与管理专业与设计美学相互融合的特点,从会展行业自身对艺术设计美学的需求、艺术设计美学在会展业中的长远影响等多个角度出发,对会展专业完善设计美学的价值进行了论证,得出会展人才培养新型方向以提升设计美学为主要技术手段的人才培养模式。     

论产品设计中的美学特征

产品设计的美必须以实用为前提,是实用与审美的完整统一。本文着重从功能美、形式美、色彩美、材料美等四个方面初略地探讨了产品设计中的美学特征。     

谈总图设计中功能与美学的和谐统一：兼论本钢二炼钢板坯连铸工程中的绿化？

结合本钢二炼钢板坯连铸工程的设计，从建筑美学的角度讨论总图设计的犁人，并阐述在绿化设计中是如何组织空间环境的。     

论编辑美学意识和科学意识的关系

论述了科技期刊编辑应具有良好的美学意识和超前的科学意识 ,按照美学的客观规律 ,用科学的方法去组织、生产、创造科技期刊的美。并介绍了编辑工艺流程中稿件、加工、编排设计、信息处理、风格的内容含义、特征     

中国民族歌剧女性角色所体现的美学特征及文化内涵

本文从中国民族歌剧女性角色作为切入点,从几个方面诠释其形成的各种原因及特征,从而剖析出其独特的美学特征及文化内涵,具有现实意义。     

旅游的美学定义探析

旅游活动作为一种特殊的审美活动在国内目前的美学研究中没有受到特别的重视,对旅游活动的美学研究还极不完善,本文从哲学美学的角度对人的旅游活动进行思考,探讨旅游的美学定义.     

中西美学思想在舞蹈艺术中的体现

对中西美学的比较一直是东西方艺术家讨论的热门话题,随着中西比较美学的兴起与发展,人们对中西方美学的认识也越来越深刻.对中西方美学思想的探究不仅仅局限于理论与哲学方面,舞蹈作为一种以身体为主要表现手段的艺术形式,在两种美学思想的比较中也能发挥重要意义.本文从美学的定义出发,对中西美学思想差别的比较与探讨,并对两种美学思想在舞蹈艺术中的体现进行分析.     

论福柯的身体政治美学

18世纪,政治问题和美学问题同时进入西方现代性思想的核心,并构成隐秘的联系.从现代性范畴来分析福柯的身体美学,整个美学史的诞生及发展无不与肉体的话语相关,美学不仅具有解放的力量而且是一种有效的政治领导权模式.从鲍姆加通到康德,美学都隐含着政治因素,关注身体就成为现代性的一个重要原则.福柯的"身体"是一种"政治结构",他将身体和身体以外的政治经济学连接起来,身体既是审美的,又是政治的,界限与超越构成了身体与权力亲密无间的张力空间.     

The automatic aesthetic evaluation of different art and architectural styles.

The subject under discussion concerns the existence of an automatic aesthetic evaluation. When we encounter an object like an artwork or an architectural structure that activates an aesthetic response, does the associated evaluation appear in our mind as an automatic process? From the broad field of aesthetic appraisal, we will be considering a specific aspect that refers only to the positive and negative affects related to an individual's preference between two art styles (figurative vs. abstract) and two architectural styles (classic vs. contemporary). The hypothesis is that there is a preexistent preference within the visual arts and architecture that can clearly be identified using implicit measurements. Results from two experiments that were conducted with the use of the Implicit Association Test (IAT) showed that participants' reaction times were faster in associating positive words to figurative art and classical architecture (the so-called compatible task) than to abstract art and contemporary architecture (the so-called incompatible task). The results are in line with the hypothesis that aesthetic preferences can also be experienced automatically. Prototypicality (i.e., the degree to which an object is representative of a general class of object), familiarity and the relative simplicity of figurative art and classical architecture (compared to abstract art and modern architecture) can explain the shorter reaction time and as a consequence, an implicit aesthetic preference for these kinds of stimuli. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

When Children's Drawings Become Art: The Emergence of Aesthetic Production and Perception.

Although children's drawings have been studied from several perspectives, their status as works of art has not been considered. It is possible that only at a certain point in development do children's drawings begin to exhibit characteristics of the aesthetic. Proceeding from a definition of the aesthetic proposed by Nelson Goodman, a set of tasks was devised to examine this possibility. First-, fourth-, and sixth-grade children were tested for their sensitivity to the dimensions of syntactic repleteness (e.g., line variation) and expression (i.e., the feelings conveyed by a work). First-grade children displayed little capacity to produce or perceive aesthetic characteristics. Fourth-grade children displayed significant capacities to perceive these characteristics in drawings, and by the sixth grade children demonstrated considerable capacities to exhibit these aesthetic characteristics in their own drawings. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

实用美术是特教美育重中之重

从学生的社会就业角度出发,就目前高等美术教育的发展状况及特教美育和听障学生的自身特点等几方面综合分析,强调实用美术应该成为特教美育发展的重中之重,特别是在课程设置上要增加民间美术实践内容,这样更适应社会需求和听障学生的自身特点。     

论阅读教学的美育责任

阅读教学肩负着美育责任,与审美教育有着质的统一性。通过阅读教学引导学生:感知美的情境,发现形象美;调动审美体验,发现情感美;展开审美鉴赏,发现艺术美;提高审美能力,发现内在美。     

On personality and piloerection: Individual differences in aesthetic chills and other unusual aesthetic experiences.

Relatively little is known about aesthetic chills, the experience of goose bumps and shivers in response to the arts. The present study explored how often people report such experiences and what people who often experience them are like. After noting which domain of the arts they encountered most often in daily life, young adults (n = 188) rated how often they experienced aesthetic chills and related states. Latent variable models suggested three latent factors—aesthetic chills, feeling touched, and absorption—that shared a higher-order factor. As expected, people high in openness to experience and expertise in the arts consistently reported experiencing aesthetic chills more often. The Big Five personality factors accounted for about half of the variance, whereas cognitive and demographic variables were relatively unimportant. The individual-differences approach thus seems like a promising complement to experimental work on aesthetic chills. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

Cultural influences on preference for designs.

An attempt is made to determine the extent to which the frequently demonstrated agreement between individual aesthetic choices is really a general factor related to the aesthetic material and independent of social and cultural influences. "Eight West African designs were shown to 56 West Africans and 56 English Ss each of whom was asked to say which two he liked best and which two he liked least. Within each cultural group considerable agreement was shown by the subjects; since, however, the preferences of the two groups were quite distinct, little evidence was found of a general agreement which depended on the designs rather than on the judges." (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Emotional responses to art: From collation and arousal to cognition and emotion.

The study of emotional responses to art has remained curiously detached from the psychology of emotions. Historically, the leading tradition has been Daniel Berlyne's psychobiological model, embodied by the "new experimental aesthetics" movement of the 1970s. That theory explained hedonic qualities of art by referring to arousal-modifying "collative properties" of art, such as complexity, novelty, uncertainty, and conflict. Berlyne's influence on the experimental study of aesthetics has been enormous, largely for the better but also for the worse. Berlyne's suspicion of cognitive psychology led to an unproductive perseveration on arousal as the mechanism of "aesthetic responses." This article describes how appraisal theories of emotion inform the study of aesthetics. Appraisal theories make new predictions about emotional responses to art, expand the domain of aesthetic emotions beyond positive emotions such as interest and enjoyment, inform other theories (e.g., prototypicality models), and reinterpret past findings. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

The role of aesthetic sensitivity in body dysmorphic disorder.

Individuals with a higher aesthetic sensitivity may be more vulnerable to developing body dysmorphic disorder (BDD). Aesthetic sensitivity has 3 components: (a) perceptual, (b) emotional, and (c) evaluative. Individuals with BDD (n = 50) were compared with a control group of individuals with an education or employment in art and design related fields (n = 50) and a control group of individuals without aesthetic training (n = 50). A facial photograph of each participant was manipulated to create a 9-image symmetry continuum. Presented with the continuum on a computer, participants were required to select and rate the image representing their self-actual, self-ideal, idea of perfect, most physically attractive, most pleasure, and most disgust. Control symmetry continua examined the specificity of the disturbance. As predicted, BDD participants displayed no distortion in their perceptual processing but were disturbed in their negative emotional/evaluative processing of their self-image. A significant discrepancy between their self-actual and self-ideal, resulting from an absent self-serving bias in their self-actual (a bias exhibited by controls) appears to be the source of their disturbance. They also overvalued the importance of appearance and self-objectified. These aesthetic evaluations may predispose individuals to BDD and/or maintain the disorder. (PsycINFO Database Record (c) 2011 APA, all rights reserved)     

The influence of induced positive affect and design experience on aesthetic responses to new product designs.

This experiment found that positive affect, induced by a gift of a small bag of candy (not consumed), enhanced ratings of the visual appeal of a set of six digital cameras by male participants untrained and trained in principles of design theory, as compared to control groups who did not receive candy (N=10 per group). The number of participants' reactions to the cameras' features, the affective quality of their reactions (positive, negative, or neutral), and the time taken to evaluate each camera were obtained from participants' "think aloud" procedure verbalizations recorded as they examined each camera. Analyses of these cognitive process measures revealed that, consistent with the Affect Infusion Model proposed by Forgas (1995), training in design differentially influenced the cognitive processing styles responsible for positive affect's influence on the judgments; design students engaged in substantive processing whereas untrained students employed heuristic processing to arrive at their ratings. Results demonstrate that induced positive affect can influence aesthetic evaluative judgments, a heretofore neglected aspect of cognition in the literature describing the effects of induced mood on behavior. (PsycINFO Database Record (c) 2010 APA, all rights reserved)