1.
Four Sides of Life View of Tao Yuan-ming and It s Contemporary Nature;
论陶渊明人生境界的审美范型及其现代性
2.
Three aesthetic patterns of"Taking nil as existence"in creation of classical poetry;
古典诗歌创作“以无为有”的三种审美范型
3.
The Tragicomedy as a Dramatic Genre Sublimated to an Aesthetic Category;
悲喜剧:由戏剧类型向审美范畴升华
4.
A Reconstruction of the Aesthetic Ideal Personality Model in Song Dynasty;
文化转型与宋代审美理想人格典范的重建
5.
A Comparison on Ugliness between Chinese and Western Aesthetica Culture;
中西方审美文化中审美范畴“丑"之比较
6.
The" two kinds of tasting thought dimension" points to the tasting of type thought of idealizing and the manner of looking into object of" Yi Ming".
其中所说的两种范型的审美思维,即指理想化的审美思维和"以明"的观照方式。
7.
Aesthetics, History, Ecology in John Keats s Poetry;
审美 历史 生态——从《秋颂》管窥济慈诗歌研究的范式转型
8.
Aesthetic System--On the Important Category of Aesthetic Anthropological Research;
审美制度——论审美人类学研究的重要范畴
9.
That appreciation of the beauty of "gas" realizes;
“气”之审美视域——中国古典美学范畴研究
10.
Sublime and magnificence: similarities and differences in Chinese and western aesthetic realm;
崇高与壮美:中西两种审美范畴的异同
11.
An Analytical Study Of Aesthetic Category "Forgetness" from Aesthetic Psychological Angle
作为美学范畴“忘”的审美心理分析
12.
On the Aesthetic Intension and Aesthstic Character in the "li" Category of Chinese Classical Aesthetics
试论古典美学“丽”范畴的审美内涵与美学特征
13.
Freedom,Characteristics and Aesthetic Judgment--Attention on the Preschool Arts Education on the Development of aesthetic personality;
自由·个性·审美——关注“审美型”人格发展的美术教育
14.
The Study of Aesthetic Category in the View of Complexity-A New Paradigm of "Bei"(Sadness);
复杂性视野中的审美范畴研究——以悲范畴为例
15.
An Argument Concerning the Aesthetic Category of “Character(Qiyun)” --And Comment on the Zhang Xikun s Category of “Character (Qiyun)”;
“气韵”审美范畴辨——兼评张锡坤的“气韵”范畴观
16.
However, aesthetic evaluation must occur on the basis of aesthetic consumption, whose criteria are of historicity.
审美评价标准是个历史性的范畴。
17.
Establishing Categories for Deepening the Study of Aesthetic Culture;
构建范畴:深化审美文化研究的突破口
18.
Rousseau and the Conversion of 19~(th)-Century Aesthetic Paradigm;
卢梭与19世纪西方审美范式的转换