簡介：分類號???????UDC密級?公?開??囂廬夕擎碩士研究生學(xué)位論文朱謙之文化哲學(xué)思想研究申請人學(xué)號培養(yǎng)單位學(xué)科專業(yè)研究方向指導(dǎo)教師完成日期姚瑤2120072哲學(xué)學(xué)院文化哲學(xué)現(xiàn)代性與西方文化批判姜華教授2015年3月30日黑龍江大學(xué)碩士學(xué)位論文ABSTRACTTHECULTUREPHILOSOPHYOFZHUQIANZHIHASASTRONGBACKGROUND，INORDERTOSAVETHENATIONINDIRESTALLS．ZHUPROPOSEDTHEIDEAOFNATIONSALVATIONCULTURE，ANDHEHOPESTOBOOSTCHINACULTURALRENAISSANCE．PHILOSOPHICALTHEORYOFTHEFORMATIONOFCULTURALINFL{AENCESFROMTHEWESTBYTHEDIFFERENTCULTURES，ANDMAINLYFROMTHECHINESETRADITIONALCULTURE，ANDLIFEPHILOSOPHY,DIALECTICSANDTHEIMPACTOFTHELAWINTHREESTAGES．THEHECULTUREOFZHUQIANZHIISDIVIDEDINTOEIGHTTYPES，ANDALLFOURTYPESOFCULTURALANDSOCIALASPECTSWHICHCULTURALASPECTSOFKNOWLEDGE．STAGEINTHEDEVELOPMENTOFCULTURE，THECULTUREOFITSINTERNALLYGENERATEDFOURTIMES，THESEFOURCULTURALTYPESAREMUTUALINFLUENCE．ZHUQIANZAI’SPOINTOFVIEWBUTALSOFROMTHEWORLDOFCULTURE，ANOVERVIEWOFTHEVARIOUSTYPESOFCULTURALREPRESENTATIVES．INDIA，CHINAANDTHEWESTREPRESENTTHERELIGION，PHILOSOPHYANDSCIENCEINTHREEDIFFERENTCULTURES．THEERAOFRELIGIOUSCULTUREANDPHILOSOPHYOFCULTUREHASBECOMEINTHEPAST，ATTHISSTAGEISDOMINATEDBYSCIENCEANDCULTURE，WORLDCULTURETOCULTUREANDTHEARTSASANENDEVENTUALLY．ZHUQIAN出’SCULTURALPHILOSOPHYOFLIMITEDAGEFACTORS，THEREAREALOTOFSHORTCOMINGS，BUTITSCULTURALPHILOSOPHYFORTHEDEVELOPMENTOFCHINASMODERNIZATIONHASIMPORTANTSIGNIFICANCE．KEYWORDSCULTUREPHILOSOPHY；CULTURETYPE；SOUTHERNCULTUREMOMENT；THREEPHASEIHLE

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簡介：華東師范大學(xué)碩士學(xué)位論文晚期福柯論“自我的培育”（LACULTUREDESOI）－－作為生存美學(xué)的哲學(xué)姓名陳軍花申請學(xué)位級別碩士專業(yè)外國哲學(xué)指導(dǎo)教師姜宇輝201105華東師范大學(xué)201L屆外國哲學(xué)專業(yè)碩士學(xué)位論文晚期?？抡摗白晕业呐嘤?ACULTUREDESOI作為生存美學(xué)的哲學(xué)ABSTRACTINANCIENTTIMES，SELFCONCERNINGISNOTONLYALIFEPRINCIPLEOFPHILOSOPHERS，BUTALSOTHEFOCUSOFTHEIRTHINKINGANDLIVES．THISTHESISISINSPIREDBYTHISISSUE．THISTHESISFIRSTDESCRIBESTHEFORMSANDCHARACTERISTICSOFSELFCONCERNINGINDIFFERENTPERIODSOFANCIENTTIMESANDPROPOSESTHATWESHOULDUNDERSTANDTHEMEANINGOFSELFCONCERNINGCOMPREHENSIVELY．SELFCONCERNINGCANNOTONLYMAKEONESELFPERFECTCOMPLETELY,BUTINADVERTENTLYBRINGSOMEBENEFITTOTHESOCIETY．MEANWHILE，SELFCONCERNINGISALSOAPERFORMANCEOFMORALITY．THENITCOMESTOFOUCAULT’S“SELFCULTIVATION．”FOUCAULTBELIEVESTHATTHE“SELF’IN”SELFCULTIVATION”ISTHESUBJECT’SOWNCREATION，NOTTOBEGIVEN，ANDITISNOTTOBECONSTRUCTED．THECOREOF“SELFCULTIVATION“ISSELFCONCERNING．INORDERTOEXPLAINTHESELFCONCERNINGFURTHER,THISTHESISBEGINSWITHTHECONCEPTSOF”SAVE¨AND¨CONFESS¨，ANDCONCLUDESTHATTHESUBJECTMUSTTELLTHETRUTHBECAUSETHETRUTHTELLINGISACONDITIONOFSELFSAVING．WHILECONCERNINGABOUTONESELF,ONEMUSTHANDLETHERELATIONSHIPBETWEENOTHERSCONCERNINGANDSELFCONCERNING，BUTINTHECAREOFOTHERS，ONEMUSTFOCUSONTHEMSELVES．BECAUSE，AFTERALL，CONCERNINGABOUTOTHERSAIMSATCONCERNINGABOUTONESELF．FOUCAULT’SSELFCONCERNINGISINSTRUCTIVEFORUS，WHICHDEMANDSTHATTHESUBJECTSHOULDCREATEHISLIFECOURSEASAWORKOFART，ANDGETHISOWNHAPPINESSINFREEAESTHETICPRACTICE．CLEARLY,FOUCAULT’SSELFCONCERNINGMEANSTHATTHESUBJECTSHOULDNOTONLYCONTROLHISOWNBODYANDSOUL，BUTALSOGETAWAYFROMALLSLAVERYOUTSIDEANDCREATEHISOWNLIFEINTOAUNIQUEWORKOFARTANDLIVEUPTOHISOWNLIFESTYLE．THISISTHEKEYTOFOUCAULT’SSELFCULTIVATION．KEYWORDSFOUCAULTSELFCULTIVATIONSELFCONCERNINGFREEDOMAESTHETICSOFEXISTENCE

簡介：原創(chuàng)性聲明本人鄭重聲明所呈交的學(xué)位論文是本人在導(dǎo)師的指導(dǎo)下獨立進行研究工作所取得的成果，論文中有關(guān)資料和數(shù)據(jù)是實事求是的。除文中已經(jīng)注明引用的內(nèi)容外，本論文不含任何其他個人或集體已經(jīng)發(fā)表或撰寫過的研究成果。對本文的研究做出重要貢獻的個人和集體，均己在文中以明確方式標(biāo)明。若有不實之處，本人愿意承擔(dān)相關(guān)法律責(zé)任。學(xué)位論文作者簽名罨嘭柏日期加忡年F詡擘日學(xué)位論文版權(quán)使用授權(quán)書學(xué)位論文作者完全了解北京服裝學(xué)院有關(guān)保留和使用學(xué)位論文的規(guī)定，即研究生在校攻讀學(xué)位期間論文工作的知識產(chǎn)權(quán)單位屬北京服裝學(xué)院。學(xué)校有權(quán)保留并向國家有關(guān)部門或機構(gòu)送交論文的復(fù)印件和電子版，允許學(xué)位論文被查閱、借閱和復(fù)??；學(xué)?？梢詫W(xué)位論文的全部或部分內(nèi)容公開或編入有關(guān)數(shù)據(jù)庫進行檢索，可以允許采用影印、縮印或其它復(fù)制手段保存、匯編學(xué)位論文。保密的學(xué)位論文在解密后適用本授權(quán)書。學(xué)位論文作者簽名導(dǎo)師簽名裘磚詢?nèi)掌贐ILP年L明P日日期知L中年}沙月琴日FUTUREPOSSIBⅡ。ITIES～CHINESEYOUNGSCULPTORPROMOTETHEPR0皿CTDIAIYSISABSTRACTTHISRESEARCHAIMSTOTHECURRENTSITUATIONOFTHEDEVELOPMENTOFCHINESESCULPTUREANDTHEATTENTIONOFYOUNGSCULPTORSASSTUDYUNIT．OUTOFNEARLY5YEARSCHINAHASHELDTHEYOUNGSCULPTOR,EXHIBITIONSANDACTIVITIESOFTHEPROJECT，THROUGHTHEANALYSISOFTHESIMILARITIESANDDIFFERENCESOFTHESEPROMOTIONPROJECTORGANIZATION，MODEOFOPERATION，TOGENERATETHETARGETPOINT，THEPOSSIBILITYTOINTERPRETTHEYOUNGSCULPTORTOTHEFUTUREDEVELOPMENTOFSCULPTUREARTBRINGS．PAPERSFROMTHENEWCENTURYSCULPTUREARTDEVELOPMENTPROCESSPROBLEMS，SOLUTIONS，PAYATTENTIONTOTHEYOUNGSCULPTOR,CHINESECAUSESYOUNGSCULPTORSOFSCULPTUREARTDEVELOPMENTTOTHEROLEOFTHEASPECTSDISCUSSEDTHECHINESEYOUNGSCULPTORSCULPTUREINDUSTRYPROMOTIONPROJECTONTHEIMPACTOF．THUS，INORDERTOBCRERPROMOTETHEIMPROVEMENTANDTHERESEARCHHISTORYOFSCULPTURETOPLAYACERTAINROLE．THISTHESISREVEALSFROMNEARLY5YEARSSINCETHEINTRODUCTIONOFTHEPROJECTRESULTS，CREATINGANEWPROJECTWILLPRODUCEPOSITIVEEFFECT，ATTHESAMETIME，WILLALSOHAVEANEGATIVEEFFECT．HOWEVER,AFTERANALYZINGCOMPARATIVESTUDYCONCLUDEDTHATTHEYOUNGSCULPTORSEXHIBITIONANDPROJECTACTIVITIESINTHEDEVELOPMENTOFSCULPTUREINTHEROLETHATTHEADVANTAGESFAROUTWEIGHTHEDISADVANTAGES，THEREISACERTAINVALUEINTHEACADEMICSTUDYOFTHEARTOFSCULPTURE．FROMTHEYOUNGSCULPTORCREATIONSTATEANDTHEWORKS，YOUNGSCULPTORSPROMOTIONPLANISUNDOUBTEDLYAPOWERFULBOOSTER,HELPTHEYOUNGANDPROMISINGYOUNGSCULPTOR,ALARGENUMBEROFTHESUCCESSOFTHESCULPTUREARTDOOR．THEPAPERNOTONLYFORTHEHISTORYOFCHINESESCULPTURETBRASIMPLECOMB，ANDFOCUSESONTHECURRENTSITUATIONRESOLVEDUNDERTHECURRENTRAPIDECONOMICDEVELOPMENTANDTHEEMERGENCEOFSCULPTURESERIESOFQUESTIONS，SOLVEPROBLEMSANDFINDAQUALITYAPPROACHTHATISCHINAYOUTHII

簡介：華中科技大學(xué)碩士學(xué)位論文有意味的形式論馮至十四行集對于中國新詩文體建設(shè)的意義姓名李佳芳申請學(xué)位級別碩士專業(yè)中文現(xiàn)當(dāng)代文學(xué)指導(dǎo)教師王乾坤20090521II華中科技大學(xué)碩士學(xué)位論文ABSTRACTMODERNCHINESEPOETRYTAKESONTHECONTRADICTIONANDEXCHANGEBETWEENEASTANDWESTSOTHEHISTORYOFMODERNCHINESEPOETRYISFULLOFDIFFICULTIESWHILESPARKLINGONTHEWAY,THESTYLEISACRUCIALSUBJECTTOTHEDEVELOPMENTOFMODERNCHINESEPOETRYHOWEVER,ITWASDESERTEDFORALONGTIMETHISTHESISTRIESTODISCUSSTHEMEANINGOFSONNETONTHEMODERNCHINESEPOETRY’SSTYLEBOTHFENGZHI’SWORKSOFTHE1920SAND1940SKEEPDISTANCEFROMTHEMAINSTREAM,ESPECIALLYFORTHESONNETSMAYBETHECONTEMPLATIVETIMEGIVEBIRTHTOHISSONNETSTHISCONSCIOUSNESSOFPOETRYSTYLEMADEHISGREATACCOMPLISHMENTTHISTHESISBEGINSWITHTHEORIGINANDHISTORYOFSONNET,THENDISCUSSESTHESTYLETRAITSOFSONNETS,ANDANALYZESITSARCHITECTURALANDMUSICALBEAUTYCOMPAREDITWITHSONNETINWESTCOUNTRY,ANDPROBEINTOTHEDIFFERENCETHINKABOUTTHEREASONHOWTHEDIFFERENCEHAPPENEDANDTHEN,THEAESTHETICSTRAITSOFSONNETSAREDESCRIBEDFROMTHEWHOLEFRAMEWORKANDTHEAESTHETICIDEALRESPECTIVELYITISESPECIALLYREVEALEDTHATHISSONNETWASBORNFROMTHEDUELEFFECTSOFTHETRADITIONALANDGERMANCULTURETHEN,WEGOINTOTHEHISTORYOFMODERNCHINESEPOETRYONTHEONEHAND,THEOPPOSITIONOFLIBERALIZATIONANDSTANDARDIZATIONINMODERNCHINESEPOETRYISDESCRIBEDONTHEOTHERHAND,THEMISUNDERSTANDINGOFTHELIBERALIZATIONANDSTANDARDIZATIONISALSOINTRODUCEDATLAST,WEANALYZEHOWTHESONNETSAFFECTCHINESEMODERNCHINESEPOETRYANDDEMONSTRATETHENECESSITYANDURGENCYOFMODERNCHINESEPOETRY’SFORMCONSTRUCTIONKEYWORDSSONNETSTYLEFORMCONSTRUCTIONFREEVERSERHYTHMEDVERSE

簡介：學(xué)校代碼10663學(xué)號4201110300172貴州師范大學(xué)碩士學(xué)位論文顯克微支作品在中國的譯介（19061949）TRANSLATIONOFSIENKIEWICZ’SWORKSINCHINA（19061949）專業(yè)名稱比較文學(xué)與世界文學(xué)專業(yè)代碼050108研究方向中外文學(xué)關(guān)系申請人姓名孟竹導(dǎo)師姓名曹順慶教授袁荻涌教授二零一四年五月二十日

簡介：山東大學(xué)博士學(xué)位論文易經(jīng)管理哲學(xué)研究姓名吳世彩申請學(xué)位級別博士專業(yè)中國哲學(xué)指導(dǎo)教師劉大鈞20021118一一．省奎鑾蘭苧圭耋簦笙塞合太和，乃利貞’的學(xué)術(shù)碩果，怎么不令人心潮澎湃，深感黃中通理，而美之至也”劉大鈞語但也有美中不足之事。參閱國際國內(nèi)易學(xué)研究成果，我們發(fā)現(xiàn)富有現(xiàn)實意義的“管理易”研究十分薄弱。據(jù)不完全統(tǒng)計，國內(nèi)已發(fā)表的管理易類文章不可多見，專門學(xué)術(shù)著作寥寥無幾，而且普遍存在著缺乏系統(tǒng)性、邏輯性、學(xué)理性、訓(xùn)詁性的不足。正如有學(xué)者所指出的，“近年來的易學(xué)研究中所出現(xiàn)的突出問題之一，就是部分學(xué)者較多地以一般文字家的眼光從事其研究，缺乏應(yīng)有的更為高遠的哲學(xué)史家、思想史家的視野。在這種一般文字家的眼光下，他們每每斤斤計較于歷代易學(xué)之對周易經(jīng)傳詮釋與闡衍的符與不符，有者乃至將與經(jīng)義‘相符’的經(jīng)傳解讀、闡衍者說成是‘本義派’，把‘不相符’的經(jīng)傳解讀、闡衍者說成是‘發(fā)揮派’?！眹@也較為中肯地擊中了目前“管理易”研究的偏狹。因而，我們認為，“易經(jīng)與現(xiàn)代管理”這一“援易以為說”的鉤深論題，要求研究者必須站在哲學(xué)詮釋學(xué)的立場上，定位于易學(xué)與現(xiàn)時代的精神的契合的高度上，著眼于世界經(jīng)濟國際化、政治多元化、文化兼容化、生活智慧化的時代情勢，帶著現(xiàn)代管理的實際問題，真正鋪下身子探入到周易這座神秘的毀堂中去，只有這樣才能有新的收獲。易乃含具豐富的管理學(xué)意蘊的典籍。這在易學(xué)界已達成共識。有必要規(guī)正這樣一個誤見類似于管理易類的研究，不是治易而是用易，至多算作易“術(shù)”列。而且，持此觀點者還可以從歷史資料中得到考證，認為象歷代正史的藝文志、經(jīng)籍志以及清高宗乾隆年間編纂的四庫全書、四庫全書總目提要等皆有明確分野∥當(dāng)代易學(xué)研究狀況表明，傳統(tǒng)易學(xué)正逐步實現(xiàn)著向現(xiàn)代易學(xué)的轉(zhuǎn)變，“現(xiàn)代易學(xué)”與傳統(tǒng)易學(xué)相繼而來。表現(xiàn)在如下幾個方面其一，“術(shù)”而轉(zhuǎn)“學(xué)”。傳統(tǒng)易學(xué)向來重視“易術(shù)”，認為周易無非是占筮之書。／的確，周易數(shù)千年來從未因朝代更替而中斷流傳，這在很大的程度上取決于其占筮功能，古來的易學(xué)大家無不精于筮法}改革開放以來，①‘大易集述，劉大鈞主編，巴蜀書杜，1998年IO月第1版，第177頁2

簡介：一級學(xué)科學(xué)科、專業(yè)研究方向申請人姓名指導(dǎo)教師姓名藝術(shù)學(xué)美術(shù)學(xué)中國畫研究沈曉倩陳晗晟教授2011年5月25日、L，●；主曩譚疊F．，，、I、。，爹內(nèi)蒙古師范大學(xué)碩士學(xué)位論文中文摘要線條是人類發(fā)展史上最自然的筆跡。它切合自然、傳承穩(wěn)定、富有生命力。在沒有任何理論束縛的原始社會，我們的祖先就用石頭和獸骨在巖石上表達著最初的情感，最古老的繪畫也由此產(chǎn)生。中國傳統(tǒng)繪畫藝術(shù)向來重視以線造型來傳情達意。經(jīng)過千百年的發(fā)展，它已成為一種獨立的藝術(shù)表現(xiàn)形式，散發(fā)著強烈而明顯的民族特色。從原始社會的巖畫到陶瓷彩繪，從墓室祠堂壁畫、磚刻到在布帛絹絲上的勾勒，再到文人畫家在宣紙上的抒寫，可以說絕大多數(shù)的中國畫作品中，都存在著各種狀態(tài)的線條。中國畫中的線條是運用東方所特有．的毛筆勾勒作畫而成的。線條作為中國畫的基本表現(xiàn)手段，同時也是中國畫的精脈，是表達物象結(jié)構(gòu)的骨架，更是表達情感胸懷，人格、品德、精神志向的手段；是中國畫中最基本、最簡練、也最具概括性的藝術(shù)語言；更是唯一能獨立于畫面，具有獨立審美價值的藝術(shù)語言。這些線條或單獨或組合，或明行或暗走，百轉(zhuǎn)千回，奔涌變幻，形成了律動之美，傳神之妙，線條之美。譜寫著整個中國畫史的燦爛。在本文所研究的中國人物畫中線條的情感表達方面，藝術(shù)家們正是通過線條這種中國畫特有的表現(xiàn)形式極盡可能的抒發(fā)著自己的情感，并與觀者產(chǎn)生共鳴。在藝術(shù)創(chuàng)作中將感情賦予那些濃淡、粗細、曲直等不同形態(tài)的線條，帶給觀者不同的觀賞體驗。線條是藝術(shù)家心跡的顯現(xiàn)，與藝術(shù)家內(nèi)在的情感波動相適應(yīng)，演繹著他們內(nèi)在的氣質(zhì)特征，記錄著情感的沖動起伏。畫中的線條正是通過其外顯的圖像及其內(nèi)蘊的審美內(nèi)涵，共同構(gòu)成了獨特的畫面形式美感，從而使得人物畫中的線條，帶著強烈的感情傾訴色彩，給人帶來回味無窮的審美意蘊。關(guān)鍵詞中國畫，線條，情感表達，情感共鳴，外在表達，內(nèi)在氣韻

簡介：山西大學(xué)2012屆碩士學(xué)位論文晚唐五代詩格與中國詩學(xué)．的再度自覺作者姓名指導(dǎo)教師學(xué)科專業(yè)研究方向培養(yǎng)單位增喬早1互學(xué)習(xí)年限王珍郭鵬副教授文藝學(xué)中國古典詩學(xué)文學(xué)院2009年9月至2012年6月二。一二年六月目錄中文摘要?????????????????????????????I』▲】BSTRACT???????????????????????????????????????．．III引言?????????????????????????????????1第一章晚唐五代詩格興盛的社會文化語境?????????????????．71．1晚唐五代詩格興盛的詩學(xué)基石近體詩的繁榮???????????．．71．2晚唐五代詩格興盛的思想基礎(chǔ)儒學(xué)復(fù)興與禪宗盛行????????一81．3晚唐五代詩格興盛的文學(xué)氛圍以詩取士和“苦吟”之風(fēng)??????11第二章中國詩學(xué)的“再度自覺”釋義????????????????????142．1魏晉“文學(xué)自覺”與詩學(xué)自覺???????????????????142．2晚唐五代詩格與詩學(xué)的“再度自覺”????????????????152．2．1“磨煉”成詩的創(chuàng)作觀念???????????????????172．2．2詩學(xué)理論建構(gòu)的高漲????????????????????一192．2．3晚唐五代詩格與詩歌創(chuàng)作之間的互動關(guān)系???????????一24第三章晚唐五代詩格的批評范疇評析???????????????????273．1意脈論?????????????????????????????273．1．1論意脈與構(gòu)思???????????????????????一273．1．2立意六義???????????????????????．．283．1．3論總顯詩之大意物象??????????????????～323．1．4煉意??????????????????????????????????373．2篇法論?????????????????????????????413．2．1論詩之題目????????????????????????．．413．2．2論各聯(lián)??????????????????????????．．423．3句法論?????????????????????????????4833．1對“句”的具體要求????????????????????一483．3．2律詩句型的總結(jié)??????????????????????一513．3．3聲律????????????????????????????????．．533．3．4屬對???????????????????????????一563．3．5上下旬關(guān)系????????????????????????一573．4字法論?????????????????????????????59