简介： 符号，人类文化的教练。本著在继承中国心象理论与西方心学研究成果的基础上，试图运用心理学、艺术学等理论，汲取现代符号哲学与美学研究的新思想，开创性地梳理出“心体符号”的历史发展及其理论逻辑形态，初步勾勒出它的本质特征、操作规律与内部修辞，并在符号化心体实践中，力求描绘心体符号的现代性应用图景。

简介： 对于杜夫海纳的整个哲学、美学体系来说，主客体统一是一个核心问题。在由胡塞尔开创的以超越笛卡尔以来的主客二元对立思维模式为目标的现象学运动中，杜夫海纳继承、借鉴和发挥了胡塞尔、海德格尔、雅斯贝尔斯、萨特、梅洛一庞蒂以及康德等人的相关思想，立足音乐、绘画、戏剧、雕塑、诗歌、小说、电影等艺术门类的审美实际，从美学的角度回答了哲学所探究的主体与客体、人与世界的问题，是对哲学的互证与互补。他对审美对象、审美知觉与审美经验中的主客体统一思想的专门而系统的研究，集中展现了他的美学思维方式，既拓展了胡塞尔现象学的研究范围，也大大促进了西方现代哲学对主客对立等二元论思维的清算。杜夫海纳的美学思想越来越广泛地运用到了审美活动的研究中，并且已经成为当代美学研究者们不断受到启发和汲取力量的源泉，这也正是他的理论价值之所在。

简介： 王国维和刘勰、金圣叹堪称中国美学史和文学批评史领域成就最高影响最大的三大家。自20世纪以来，王国维研究一直是一门国际性的高层次学科。本书著者对王国维的美学原著做过全面系统的收集和整理、研究，并编著和出版多种有很大影响的版本。本书将王国维美学论著的全部理论内容重新梳理、归纳、排列和连缀，是一部全面论述、评价王国维美学和文艺思想的专著。本书坚实论证王国维在中国和世界美学史、文学批评史和比较文学史上罕有的崇高地位，并指出王国维的意境说是世界美学史上唯一的以中为主、“三美”（中国、印度和西方美学）皆具的理论体系。本书是王国维学研究领域的一部力作。

简介： 宇宙之大，虫鱼之细，草木荣枯之变幻，四时寒暖之推移；以至于见善以趋，遇恶以戒：这一类的事物，都属于吾人的精神活动。自柏拉图（Prato）及亚里士多德（Aristotle）而后，已把这类精神活动，作为学理上之研究；至近代文德（Wundt）等，再为研究上之便利，分析这类精神活动为“知”“情”“意”三方面，凡吾人一思想，一行为，都含有这三种元素，虽然有强弱之不同。因此，这人类精神活动的三方面，恰如一透明体之三棱镜，我们既看着它的一面，同时也可看见它的其余的两面；严格说来，这类的精神活动，还是整个的。人类是最进化的，举凡一切之思想行为，各有其相当之目的。然则，“知”之目的为何？曰：“知”以求“真”。“情”之目的为何？曰：“情”至于“美”。“意”之目的为何？曰：“意”至于“善”。19世纪以后，求“知”的科学，日见昌明，几有一刻千里之势，吾人之衣、食、住及日用所需之物质对于吾人直接需要上的东西，无非受科学之赐，而宇宙的“真”，也被吾人逐渐地探索出来，“科学万能”的声浪，也随着空气而传送到吾人之耳膜了。吾人物质享受之领域，既如此广袤，而社会里人我相处的方法——换言之，即社会秩序之维持——不得不借宗教

简介： 作为18世纪与歌德齐名的一名文化巨人，席勒在艺术实践、艺术理论和哲学美学等各个领域进行自由之途的探索。他的美学思想一开始就与现实中的国家政治状况联系在一起，具有强烈的现实指向意义。他的审美教育思想不但确立了美育的独立地位，更将美与人性紧密地结合在一起，通过美育来弥合由于社会分工和社会化大生产所导致的人性的分裂状态，突出了人性在个体现实生存以及社会发展中的重要意义。同时，席勒对人的感性的重视和对个体在现实世界的和谐生存状态的关注，使得他的思想不仅在美学史上具有转折性的价值，在政治学、社会学方面也具有不可或缺的意义。在我们目前社会主义建设中，席勒的美学思想也具有一定的启发和指导作用。

简介： 本书深入浅出地探讨了审美活动中主体与客体有趣且精彩纷呈的相互作用情形及其全新的思想价值表征体，同时借助当代认知神经美学的前沿进展与实证材料间接印证了审美间体得以形成的心脑机制；作者提出了全新的审美解释理论及若干核心概念，并辅之以翔实精细的事据和生活化的诸多事例样本，可为爱好美学与艺术、探索爱情创造和幸福之道、对真善美之妙和大脑智慧之奥怀有好奇兴趣的广大读者提供新颖深刻和会心亮眼的精神启示。

简介： From the diachronic point，female's aesthetic consciousness of the pre－Qin period demonstrates the dynamic course that a kind of constant history turns into.In the Neolithic Age，female's aesthetic consciousness of the pre－Qin period has already begun to sprout.At the initial aesthetic stage，female's aesthetic consciousness is not one kind that surmount the only existing beautifully of utility，but the one linked deeply to religion and practicality.Prehistoric female's inherent aesthetic consciousness congeals and becomes the concretematerialization shape directly:pottery，sculpture，and mythology which has reflected the of prehistoric female's aesthetic standards directly.In general，themythology hasmainly displayed prehistoric female's vigorous and pliable and tough personality glamour;The pottery has stressed the prehistoric female's soft and simple temperament;The statue has reflected prehistoric female's physique idea of“chubbiness”，which stresses the theme of reproduction worships.From female's aesthetic angle，it is not very obvious that the aesthetic is linked with sex to certain degree，namely consciousness of aesthetic conscientious sex is not outstanding.Because female have not become a kind of aesthetic object yet in prehistoric period，so on aesthetic level，it is not to pursue the gentle，slim，and dispirited feminine charm as a whole，but to advocate a kind of healthy，natural，vigorous，and simple beauty.In the Shang Dynasty，because of the feeling ofmother－advocating in Shang's culture，female in this period have inherited some aesthetic essential features of prehistoric female in ancient times，which is still relatively healthy naturally to later age;But patriarchy culture had already been born after all，so Yin Shang female held back aesthetically while already beginning to tend towards，move towardswith beautiful，regard moral character as beauty.The aesthetic consciousness of Yin Shang female reflects concretely inscriptions on bones or tortoise shells，in inscription on ancient bronze objects.With the analysis ofwords“the female”and“beautiful”in inscriptions on bones or tortoise shells and the inscription on ancientbronze objects，we find that the aesthetic consciousness of Yin Shang female varies greatly relative to prehistoric period aesthetic.Not only female aremore linked to beauty，but also female begin to have negativemorals value aesthetically.It is not a kind of pure isolated aesthetic incident，but hasmoral integrity value in aesthetic infiltration of field.In theWest Zhou and the Spring and Autumn period，because of the setting－up of the ceremony and music culture，the awakening of rational doctrine and humanism，female's aesthetic consciousnessmoves towards gradually being conscientious，and some aesthetic interests begin to take shape，having notmerely formed ripe aesthetic standards.Themore important thing is，because people's subject consciousness is raised high in the West Zhou and the Spring and Autumn period，female's aesthetic status begins to establish too.Displaying it in the aesthetic activity，form the sexual relations among the subjects in the aesthetic activity of two sexes ofmen and women;Displaying it on the aesthetic shape，in theWest Zhou and the Spring and Autumn period，nomatterman or female who are tall and big are regarded as beauty;Displaying at aesthetic style，female in the West Zhou and the Spring and Autumn period advocate generally woeship the beauty of strong.By the Warring States Period，because of the transition of the social cul-ture situation，the further enhancement of patriarchy culture，female's social status declines further.Displaying it in amphiphilic aesthetic relations ofmen and female，female have already changed into the pure aesthetic target，certainly themale desire target too in a certain meaning.Displaying on the aesthetic shape，female aesthetic changes to slim in the Warring States Period; Displaying it on the aesthetic style，female aesthetic just turns into advocating soft and graceful;Displaying on aesthetic value，female aesthetic turns from aesthetic utility to pure aestheticFrom the synchronic point，in the pre－Qin period female not only have rich and varied aesthetic shapes but also have unique aesthetic interest and aesthetic ways.About the aesthetic shape，the pre－Qin period female show as dance accompanied bymusic，dress while being aesthetic，and the transmit for art of the poem.From the dress aesthetically，female's dress ethics color of the pre－Qin period in the aesthetic meaning has already been established，and has realized establishing thematerial base of female's dress flavor with beautiful artistic conception of the pre－Qin period.Femalemusic in the pre－Qin period has to be one which makes people happy.It has a pure aesthetic purpose only，the utility trend disappears latently.Poem themes of female are full of emotion and calling more;language of the poems of female is full of feel and mobility relatively;It is different from men who pay close attention to moremighty narration，female are good at excavating the twinkling of an eye of life and poesy contained in the triflingmatters of everyday life，so the poem subject relatively has individual nature and daily.About aesthetic interest，female in the pre－Qin period pursued the aesthetic interest of being neutral，gentle andmoralmainly.Neutralization is devoted to the honest，serious and restrained beautiful pursuitgently interestingly，it is flat to be safe and gentle，does not have toomuch of a good thing，that reflected is that one kind includes control spirit of the doctrine of the golden mean.Man can have one side of Buddha's warrior attendant's glaring eyes，but femalemust hold and keep such a basic aesthetic principle all the time.Moral character is interesting as a kind of aesthetic value judgement，it is aesthetic and interesting that it has already become the pre－Qin period female pursued consciously in the pre－Qin period.Virtuous and benevolent，industrious and kindhearted，happy to lead a simple virtuous life，abide by clear chastity，love such American qualities as the family，etc.Dr.eye:patriotically，have already been contained and taken a photograph of and entered the pre－Qin period in female's pursuit with beautifulmoral character.As a aesthetic category with important sex meaning，the overcast and gentle one just sets themale genital beautifully against interestingly，it reflects a kind of implication is accumulated andmade use of，themakings are deep and remote and gentle and sealing the beauty kept by oneself.Female's aesthetic and interesting historical changes course of the pre－Qin period，namely clear to the Warring States Period and dim and gentle and lovely from the health in time immemorial，spring and autumn，sex consciousness，Confucianism dishes of cultural philosophy，man right consciousness and adult ceremony factor these play a very great role to aesthetic interesting forming，female of the pre－Qin period.About the aesthetic way，female are different from man too in the pre－Qin period.They attached great importance to the aesthetic ways of the intuition type，combining type，and emotional type.The intuition type stresses a kind of official，non－logical and aesthetic inherent sense aesthetically.Such aesthetic participation has abandoned the involvement of the will，practice，logic，and only paid attention to connection between eye and god，heart and inspiration.The combining type pays attention to the assurance to the intact beautiful image of congealing one in the aesthetic activity，and the comprehensive consideration of thewhole being，itgoes against the splitting the static way of seeing things，also the isolation between people and material，emotion and reason.Emotional aesthetics does not pay attention to self expressing of the reason，will，good，but place people's emotion in the first place.It pays attention to the fluctuation of the self－emotion in people's heart，when being aesthetic，it is natural to involve your feelingswith the things around people，thusmake sure feeling and setting blended，things and people connected.No matter it is the poem of female that permeates with the emotion，or it is the dance accompanied bymusic with feelings，has all fully stated the characteristics of such aesthetic way.The female aesthetics in pre－Qin period has notmerely influenced the formulation of China's early aesthetic consciousness deeply，and has all exerted an important influence to the China's classical culture，classical art，national character，and even later female aesthetics.On the impact of China's early aesthetic consciousness，the female aesthetic in the pre－Qin period is significant to formulation of neutral，quietand introspective beauty.On impact to China's classical aesthetic culture，female aesthetic in the pre－Qin period plays great influence to the culture of the five elements，Taoist school culture and Taoism culture.On national character，behaving in middle way，and beingmild，introverted and indifferent to fame or gain and gentle inside，are due to influence of female aesthetic in the pre－Qin period too.Meanwhile，the aesthetic forming of characteristics about the Chinese classical arts such as female soft and graceful beauty，artistic conception beauty，and life beauty have inherent close relationswith the female aesthetic in pre－Qin period.In addition，the combination between good and beauty，valuing the virtue instead of appearance set up by female aesthetics in the pre－Qin period has exerted the important influence on the female aesthetics later，namely paying more attention to the moral beauty and the graceful and restrained beautiful aesthetic mode.So far，though it has already 21st century，we are difficult to totally abandon traditional aesthetic standards of female's aesthetics formed in the pre－Qin period.

简介： 鲁迅美学世界的经验元点是由儿童鲁迅的审美追求、少年鲁迅的反抗势利文化和拯救意识共同构成。青年鲁迅的英雄美学以大本论、本末论、偏至论、中道论为哲学根基，以精神进化论及其方法论、差等论为主要内容；自悟而悟人，自救而救人，自树而树人，做真人、狂人、全人，是其人格上的审美理想。他的人性美以“整体意识”“整体责任感”为源泉，以“诚”为树根，以“爱”和“憎”为树干，以“同情”为枝叶，以“悲悯”为最灿烂的花朵。