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    25 November 2018, Volume 38 Issue 6 Previous Issue    Next Issue
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    Chinese Literary Critical Discourse: Word-Image-Meaning Studies
    Word-Image-Meaning: Unique Discourse in Chinese Culture and Aesthetics
    Zhang Fa
    2018, 38 (6):  6-13. 
    Abstract ( 381 )   PDF (2593KB) ( 146 )  
    Image is unique in the theory of word-image-meaning in Chinese culture. Word, Image and meaning are interconnect and at the same time autonomous whether in Zhouyi philosophy or aesthetics. The theory of word-image-meaning in aesthetics took form in the Wei and Jin Dynasties and evolved into the theory of "visay" in the Tang Dynasty because of its interaction with the Buddhist theory of visay, thus having completed its aesthetic turn and established the structure of "the visay within word-visay" (scene-image-affection-meaning) and "the visay beyond visay" (including scenery beyond scenery, image beyond image, and meaning beyond meaning. )
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    "Establishing Xiang to Fully Express Idea" and Chinese Aesthetic Culture
    Ma Dakang
    2018, 38 (6):  14-24. 
    Abstract ( 284 )   PDF (1414KB) ( 105 )  
    "Daxiang (great image)" and "Xiangwang (beings without trace)" are a state of "Non-Objectivity". Through imitation and imagination, the relationship between human and nature is transformed from object relationship to non-object relationship, which ultimately leads to human understanding of "Tao". This is the meaning of "establishing Xiang to fully express idea". "Yixiang (image)", "Yijing (ideo-mood-imagery)" and "Jingjie (state or realm)" are the fields composed of "Xiang" and "Daxiang", which can be called "Xiang-Daxiang". "Xiang-Daxiang" is the cell of the Chinese aesthetic culture and it produces the unique character of Chinese aesthetic culture, and also determines the unique way of thinking and expression of Chinese classical aesthetics and ancient Chinese literary theory.
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    The Relationship between Meaning, Images, and Words of Yang Wanli's Poetics
    Li Ruiqing
    2018, 38 (6):  25-33. 
    Abstract ( 213 )   PDF (1877KB) ( 183 )  
    Illustrating the system of meaning, images, and words from The Book of Changes, Yang Wanli concludes that one should seek images through and within words, and Tao through and within images. Applying this philosophical logic to poetic logic, Yang reaches the conclusion that in that case, wan xiang bi lai (you can see all images in your head), and yi zai ju zhong (what you intend to convey has been expressed in sentences) help form rigorously structured poetics with Confucian tradition of meaning and words. Based on Yang's unique theory of mind-material relationship and his favor to natural imagery, wan xiang bi lai theory proves that arcane logic and Tao can also be grasped. As for poetics by analogy with that theory, naturally, natural imagery can lead people toward aesthetic freedom. The theory yi zai ju zhong is based on Yang's conception that reason and meanings can be expressed by images and words. Explicit and implicit meanings can be expressed exquisitely in one same sentence, if the latter derive from elaborate wording and sentence-making.
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    Modern and Contemporary Literary Theory and Criticism
    Knowledge Production and Canonization of Modern Chinese Poetry: Selected Modern Chinese Poetry (1919-1949) in Historical Perspective
    Fang Chang’an
    2018, 38 (6):  34-45. 
    Abstract ( 257 )   PDF (1421KB) ( 129 )  
    Selected Modern Chinese Poetry (1919-1949), edited by Zang Kejia and published in 1956 by China Youth Press, is the first and one of the most important anthologies of modern poetry in China since 1949. For literary construction in modern China, its preface, "An Outline of the Development of Modern Chinese Poetry since the 'May Fourth Movement'", has reconstructed the history of the development of modern Chinese poetry from 1919 to 1949, which saw anti-imperialistic and anti-feudalistic themes highlighted and realism become the mainstream. Because the editor used it as a historical framework and discourse basis to break through the existing knowledge system of modern poetry by reselecting poets and poems, the book has drawn a new map of modern poetry and produced knowledge of poetry that met the requirements of that period. The circulation of the anthology was so large that it became the most important reader for a generation to understand modern Chinese poetry. An objective and deep study of the book, however, has yet to appear. In fact, if one contextualizes the anthology in the history of poetry selection for the past century, and in the history of continuing canonization of modern poetry since the 1920s, it is not difficult to find that the book has unique historical functions for selection and canonization of modern Chinese poetry.
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    The Other in the View of the Self and the Self in the Horizon of the Other: The "Reconstruction of Canon" in the Translations of Literary Mind and the Carving of Dragons in American Scholarship
    Gu Pengfei
    2018, 38 (6):  46-55. 
    Abstract ( 192 )   PDF (1882KB) ( 143 )  
    This article discusses a basic literary question: suppose there is an original text which is an authorized canon, then is its translated text still a canon? The circulation of Literary Mind and the Carving of Dragons in American scholarship is an example. Those translated texts, rewritten through cross-cultural translation, deviate from the original because they were reconstructed in a heterogeneous cultural context. With three kinds of research methods, including contextual reduction of the original text, form reconstruction of the paratext and comparison of intertextuality between Chinese and Western versions, Vincent Yu-chung Shih, Stephen Owen and Yang Guobin succeeded in reestablishing the canonical status of Literary Mind and the Carving of Dragons in American scholarship, which is obviously distinct from the original text. This article concludes that the "new canon" is not only the technical achievement of the native Literary Mind and the Carving of Dragons as "peripheral literary texts" in America literary context that shift from an identity of "the Other" to "the Self", but also the product of cultural exchange where American "central literary texts" absorb Chinese "peripheral literary texts" for innovation.
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    Musicalization: Xu Zhimo's Poetic Aesthetics
    Chen Liming
    2018, 38 (6):  56-68. 
    Abstract ( 330 )   PDF (1918KB) ( 330 )  
    Apart from its shallow poetic imagery due to the vernacular and transparent language, a main reason why the New Poetry has been widely criticized since the May 4th Movement lies in the lack of musicality, more obvious when compared with Chinese classical poetry. But Xu Zhimo is an exception in that he made some effective and innovative transformation of the musicality of the poetry both at home and abroad by means of an integration of reading, translation and writing. It is therefore argued that musicality has characterized the most important features of his poetry, which is most obviously manifested as recapitulation of the art of music mainly including full recapitulation, partial recapitulation, variant recapitulation and their synthetic application. This paper tends to elaborate on the origin of his musicality and musical poetics based on the practical interpretation of various examples, and consequently to verify and rethink the musicality of the New Poetry in a world context of musical poetry. To summarize, Xu Zhimo facilitated an essential return of the literariness and musicality of the New Poetry, which well deserves his followers' succeeding and carrying forward.
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    Formal Aesthetics of Ballads: Ideas of Literary Language in the Chinese Ballad Campaign
    Cao Chengzhu
    2018, 38 (6):  69-75. 
    Abstract ( 244 )   PDF (1834KB) ( 93 )  
    Although the language of ballad seems simple and unadorned, its specific formal skills and overall idea of form run through the whole text, where its important literary value lies. It not only has a set of internal formal rules, but also shows a close association with daily spoken language, dialect, and ancient Chinese poetry. Therefore, what is worthy to learn for the New Literature is not wonderful words or sentences in a ballad, or its simple and natural language style or strong feelings expressed for ordinary people, but its formal rules. These rules not only provide useful reference and nourishment for formal innovation of literary language, but also enrich the New Literature in terms of emotional structures and realistic contents, and promote the modernization of Chinese literature in the 20th century in expressions and aesthetic meanings.
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    Western Literary Theory and Criticism
    International Politics of Literary Theory: A Study of Western Theory as Doctrines and a Discipline
    Lin Jinghua
    2018, 38 (6):  76-88. 
    Abstract ( 275 )   PDF (1442KB) ( 104 )  
    The event of the publication of René Wellek and Austin Warren's Theory of Literature (1949) signals that European literary criticism was transformed rapidly into literary theory by American scholars. To be more specific, from then on, British New Criticism that emphasized close reading was replaced by American New Criticism that valorized analysis of semantic structure, and Russian formalism was rediscovered and reactivated in this process. Afterwards, more theoretical schools sprang up, such as semiotics, structuralism, hermeneutics, post-structuralism, deconstructionism, and so on. And along with the scientific literary theory, many other theories, like Western Marxist criticism, feminism, gender studies, new historicism, postcolonial criticism, and cultural studies in European and American academia, came out and flourished during the Cold War. At that time, the Soviet Union had established and reinforced a set of Communist theory. And in response to its reflection theory, U.S.-led "Western countries" turned "literary criticism" based on critics' individual experience into "literary theory" as a discipline with a curriculum system. Therefore, the discipline of literary theory, whose blossom was a result of the Cold War, and specific literary theory, unaffiliated with ideology of the war, were constantly in conflict with each other. And there was much controversy about literary criticism during the Cold War. But as the war ended with the upheaval of Eastern Europe and collapse of the Soviet Union, the theory of reflection failed, and Western literary theory, like "the end of history" theory, finally became legitimate in the process of globalization. It is a major concern for western theorists to develop the disputed theory in recent 40 years, but post-theories' dimension of international politics could not be ignored.
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    What is the Antimimesis of Narrative? An Exploration of Brian Richardson's Unnatural Narratology
    Shang Biwu
    2018, 38 (6):  89-97. 
    Abstract ( 410 )   PDF (1866KB) ( 232 )  
    As a founder and major proponent of unnatural narratology, Brian Richardson is one of the most prominent narratologists in contemporary Western academia. Defining unnatural narrative as "one that contains significant antimimetic events, characters, settings, or frames", Richardson analyzes its unnaturalness from such aspects as story, discourse and narrative representation apart from revealing its ideological function. The controversies of unnatural narratology, to a large extent, center on the concept of the unnatural, and methodology and applicability of the theory. To fully develop "a poetics of unnatural narrative," unnatural narratologists, Richardson in particular, need to further clarify the concepts of unnatural narratology at a micro-level on the one hand, and to develop an interpretive model which will be fruitfully improved and revised through practice at a macro-level on the other.
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    History in Round Numbers: Why One Hundred?
    Christopher Prendergast
    2018, 38 (6):  98-105. 
    Abstract ( 201 )   PDF (1356KB) ( 73 )  
    This article is about the practice of dividing historical and literary-historical time into units of 100 years, with a particular focus on the semantics of the French term "siècle". It examines how in the course of what we now call the seventeenth century the term "siècle" shifted in meaning from "age" or "epoch" to the round number 100. It contextualizes the shift with reference to the great Quarrel of the Ancients and the Moderns, while also reflecting on the implications and consequences of a counterfactual alternative to modern historical chronology.
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    Shakespeare's "World History": J. G. Herder's "Sturm und Drang" Drama Theory and the Radical Enlightenment
    Feng Qing
    2018, 38 (6):  106-113. 
    Abstract ( 408 )   PDF (1862KB) ( 92 )  
    Influenced by Johann Gottfried Herder and Johann Wolfgang von Goethe, the German "Sturm und Drang" movement regarded William Shakespeare as a model of gifted drama poets. Viewing Shakespeare as a "genius" in imagination for the possible "world history", Herder applied pantheistic philosophy to his drama theory and developed a concept of radical enlightenment. Comparing Herder's view with Gotthold Ephraim Lessing's interpretation of Shakespeare as well as his Aristotelian enlightenment dramatic idea, a great difference can be revealed: Lessing aimed to cultivate civic morality, while Herder intended to evoke the Volk's passion towards freedom and political action.
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    Digital Humanistic Transformation of World Literature, Distance Reading and Literary Criticism: Franco Moretti's Evolution Logic of Literary Theory
    Chen Xiaohui
    2018, 38 (6):  114-124. 
    Abstract ( 253 )   PDF (1411KB) ( 132 )  
    Franco Moretti is one of the most controversial scholars of world literature today. Compared with others', his world literature is not of "substantive existence", but of "conceptual existence". From the perspective of conception, Moretti regards world literature as a holistic thinking mode of dealing with the evolution of literature in the era of globalization, and it is also the problem itself that needs new critical methods to solve. As a solution to the problems of world literature by Moretti, "distant reading" symbolizes the paradigm revolution of reading objects, reading subjects and reading methods with its "second-hand reading", large-scaled reading, collaborative reading and computational criticism, thus contributing to the digital humanistic transformation of literary criticism. From world literature, distant reading to digital humanities, Moretti not only demonstrates a clear theoretical evolutionary logic and ideal, but also builds a new literary theory and critical system.
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    Classical Literary Theory and Criticism
    The Literati Purport of Jiazhuan and Theoretical Reflection on Its Ideas of "Using Literature as Play"
    Huang Xiaoju, Zhao Weiguo
    2018, 38 (6):  125-131. 
    Abstract ( 225 )   PDF (1855KB) ( 162 )  
    A relatively independent type of ancient Chinese prose, jiazhuan was biographies written anthropomorphically for objects. Han Yu's Biography of Mao Ying written in the Tang dynasty marked the beginning of jiazhuan, followed by numerous parodies in the Song and Ming dynasties. Such prose, written by the literati at leisure for entertainment, embodied their refined aesthetic taste. This article argues that jiazhuan was an expression in the form of games, which displayed writers' talent. Thus perceived, just like "writing is for conveying truth", "using literature as play" became an important and necessary literary stance for the literati to divert themselves from loneliness or boredom at their leisure time.
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    The Tradition of "Good Writing" and the Narrative of Ming-Qing Marvel Tales
    He Cui
    2018, 38 (6):  132-141. 
    Abstract ( 277 )   PDF (1877KB) ( 137 )  
    The pursuit of "good writing" is a long and profound tradition among Chinese literati, who demonstrate their talent, knowledge and accomplishment by writing various types of literary works. Among them, the unique Ming-Qing marvel tales as a kind of ancient Chinese drama mostly represent national characters. However, as the marvel tale is a narrative art, there must be certain tension between the "good writing" tradition and the drama narrative, which is reflected in both speeches and songs. Songs, often desktop-oriented, tend to be conventionalized and detached from or even in conflict with characters. Speeches are often used for characters' opening and concluding poems, and other occasions with texts written in verse. Marvel tale writers try to tell stories successfully and show their talent and accomplishment in the meantime in order to win the recognition and praise of contemporary people. For the people of nowadays, the pursuit of "good writing" should have played a minor role in marvel tale narration, but if we put it into its original cultural context, we may have more understanding and appreciation of it.
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    The Combination of Emotions and Things in Traditional Chinese Poetics
    Li Guikui
    2018, 38 (6):  142-151. 
    Abstract ( 159 )   PDF (1885KB) ( 166 )  
    From a series of theoretical summaries based on creative practice, such as "expressing sentiment in response to objects or things", "revealing emotions in narratives" and "integration of emotions and things", it is easy to find that traditional Chinese poetics contains a set of combination of "emotion" and "things". The idea of "emotions arising from felt things" is deeply rooted in traditional Chinese poetics. Accordingly, scholars gradually realized that there should be "things" first, then "emotions". In other words, emotions are caused by things, and narratives are the basic and necessary means of lyric expression. Based on this, Wei Tai in the Song Dynasty put forward the idea of "presenting things to convey emotions" in his Lin Han Seclusion Poetry, which clarified narratives' subordination to lyricism. Later in the Ming Dynasty, with regard to the ecology of poetry underlined by "presenting things with sentiment", Kong Tianyin summarizes in his Tang Shi Chronicles Preface the idea of "integration of emotions and things", which revealed the secrets of Tang poetry and even entire ancient Chinese poetry. Of course, such important concepts as "artistic conception (yijing)" or "realm (jingjie)" that gradually developed in the history of traditional poetry theory were all imbued with the idea of "integration of emotions and things". Among them, "meaning (yi)" leaned towards lyricism and contained narrative factors, while "state (jing)" leaned towards narrative with elements of emotions.
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    A Review of Yan's, Bao's and the Xies' Poetry and Fang Hui's Poetics of the Six Dynasties
    Zhao Houjun
    2018, 38 (6):  152-158. 
    Abstract ( 258 )   PDF (1851KB) ( 175 )  
    A Review of Yan's, Bao's and the Xies' Poetry was written in Fang Hui's old age, which contains his views on the literature of the Six Dynasties. In his review, Fang Hui adopted the Jian'an Style and Jian'an Flavor as the criteria. Jian'an poetry excelled in the poetic style featuring the classic style of qiyun (aura) and wild abandon with strong and vigorous emotions, which were derived from the conviction that verses written in simple style are better than parallel sentences. Besides, writers preferred expressing emotions than depicting scenery. In these aspects, Yan's, Bao's and the Xies' poetry were not as good as Jian'an poetry. So Fang Hui criticized Yan's, Bao's and the Xies' poetry for gorgeous words and sedulously pursuing exquisiteness. Fang Hui did not simply pay attention on their shortcomings, but thought highly of those verses characterized by natural style and rich and interesting words. He also praised their influences on writings of the Tang and Song dynasties, and then analyzed their poetic features including structure, order, syntax and diction from the Jiangxi Poetry School's perspective. Meanwhile, Fang Hui affirmed their contribution to the reform of poetry, which meant that he wanted to change the decadent and vulgar poetic style of the Jiangxi Poetry School and the Siling Poetry School in order to revitalize the aesthetic ideal of the Jiangxi Poetry School. Besides, Fang Hui expressed his admiration of Tao Yuanming, which was also one of the important parts of his views on the poetics of the Six Dynasties.
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    Meanings and Relationship among "Dao-De-Sheng-Wen" in "Yuan Dao" of Literary Mind and the Carving of Dragons
    Li Kai, Miu Yong
    2018, 38 (6):  159-168. 
    Abstract ( 278 )   PDF (1405KB) ( 178 )  
    By perusing the text of "Yuan Dao" (tracing the origin to the Dao) with relevant theories of Chinese and Western philosophy, this article reviews different interpretations of "Dao" and their insufficiencies. It reinterprets the meanings of "Dao" and analyzes difference and connection between "Dao" in "Yuan Dao" and that in Confucianism, Buddhism and Taoism. Another focus of this article is the reasons why Liu Xie esteems Confucius as a saint and Laozi a sage, and why he extols Confucian classics and Dao De Jing. Through the above analysis, the article expounds the meanings and relationship among "dao-de-sheng-wen" in "Yuan Dao".
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    Aesthetics and Culture Studies
    An Interdisciplinary Discussion on the Political and Ethical Dimensions of Aesthetics: An Interview with Professor Simon Critchley
    Wang Xi
    2018, 38 (6):  169-174. 
    Abstract ( 221 )   PDF (1386KB) ( 88 )  

    Simon Critchley is an English Philosopher, the Hans Jonas Professor in New School, New York. He is the founding member of the executive committee of Forum for European Philosophy, the previous program director of College International de Philosophie in Paris, the previous president of British Society for Phenomenology and the research fellow of Johann Wolfgang Goethe University. He has held visiting professorship at numerous universities and authored more than twenty books which are translated into French, German, Spanish, Japanese, Chinese, etc. In these books, he develops a strikingly independent philosophical voice of western leftist and inquired the increasingly overlapped terrain of aesthetics, politics and ethics. Some of his books such as Very Little… Almost Nothing (1997), Infinitely Demanding (2007), The Faith of the Faithless (2012) have generated lively intellectual debate in the west, notably with Slavoj Žižek and Alain Badiou. Professor Critchley also writes for The Guardian and is moderator of "The Stone", a philosophy column in The New York Times, which has attracted millions and thousands of readers. 

    In this interview, Professor Critchley traced the ineliminable aesthetic dimension of politics back to the time of ancient Greece, and discussed how the shifting of conceptual and normative center of some pivotal aesthetic paradigms may influence the studies of ethics and politics. Some key concepts like "poetic fiction", "sublimation", "comic paradigm" and the dialectic pair "autonomy / heteronomy" are discussed frequently, acted as the very hinge combining the interacted fields of aesthetics, literature, politics and ethics. This interview, on one hand, explains "the return of aesthetics" in contemporary western liberal studies, on the other, offers us new potentials of social intervention of western critical theories .

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    Was Plato an Art Denier?: Plato's Concept of Technē (Art) and the Pre-Socratic Philosophy Term of Phusis (Nature)
    Yin Dehui
    2018, 38 (6):  175-184. 
    Abstract ( 202 )   PDF (1449KB) ( 69 )  

    Since philosophy term technē in ancient Greece is not exactly the same as the concept of art today, it is inaccurate to say that Plato was for or against art, but, at the same time. Plato actually opposed some kind of technē (mainly poetry and painting), and the influence of this stance remained even today. Therefore, it is necessary to clarify which kind of technē Plato exactly opposed. In ancient Greece, it was Plato who firstly proposed technē as a philosophy term on the basis of Pre-Socratic philosophy. So his thought of technē must relate itself to the thought of phusis in Pre-Socratics, meaning that the aspect which Plato thought was contrary to idea and which Plato criticized was exactly the aspect which was contrary to phusis from Pre-Socratic point of view. So, if we match Plato's concept of technē with the modern concept of art, the concept technē of ancient Greece had already included the main three meanings of art today, namely, Art or the Fine Arts in modern Aesthetics, skills which is already contained in technē, and Kitsch in modern Aesthetics which was indeed criticized by Plato. In Plato's time, all these three meanings were mingled in discriminately, and there had not been a context for Plato to distinguish all these three aspects of technē, but at least, it should be understood that Plato was not actually against Art.

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    Aesthetics Criticism
    Explicating the "Meaning Triad" in Lady Welby's Significs
    Sun Feng, Tu Youxiang
    2018, 38 (6):  185-193. 
    Abstract ( 236 )   PDF (1449KB) ( 131 )  
    The purpose of this paper is to explore why the "Meaning Triad" becomes the core concept of the Significs, and reaches the following conclusions: the "Meaning Triad" is the basic theory of Significs, which, as the science of meaning, is the basis of the extension of the Significs's "translative-interpretive" process, the premise that makes the Significs evolved into "the philosophy of Significance", the crux that makes the Significs to restore the link between "mother-sense" and "father-reason", the epitome of the Significs's thinking manner, and the central doctrine of signific education. Assisted by the concept of the "Meaning Triad", Lady Welby's Signifcs ultimately establishes the importance of context, highlights the philosophy of "dialogue" and "otherness", combines Semiotics with Axiology, emphasizes the capacity of mankind for responsibility of behavior in the use of signs, and brings the Significs with an ethic inclination. Explicating the important role played by the "Meaning Triad" in Significs may contribute to our understanding of the characteristics of Significs theory, which on the other hand will deepen our understanding about Significs.
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    Aesthetics and Culture Studies
    Aesthetic Experience of Semir Zeki, "Father of Neuroaesthetics", and Related Research
    Hu Jun
    2018, 38 (6):  194-202. 
    Abstract ( 273 )   PDF (1404KB) ( 191 )  
    Based on neural mechanism of the brain, Professor S. Zeki, known as the "father of neuroaesthetics", has made much research on human vision, aesthetic experience, aesthetic judgment, and the relationship between aesthetics and human perception, like that of color, form, and motion. This article analyzes Zeki's research on aesthetic experience and expounds how Zeki, through brain fMRI (functional magnetic resonance) scan, discovered that aesthetic experience can activate certain area of brain – A1 region of the medial orbitofrontal cortex (mOFC). On this basis, the article not only discusses the definition of beauty, but also differentiates aesthetic experience from pleasure experience and other core aesthetic issues.
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    Aesthetics Criticism
    The Genealogy of Affect Theory
    Liu Qianyue
    2018, 38 (6):  203-211. 
    Abstract ( 2488 )   PDF (1985KB) ( 813 )  
    Affect theory emerged in the late twentieth century as a theoretical trend in the study of "affective turn" in Western humanities. Affect theory, focused on the complex narratives of affect history, is an alternative paradigm to the one which is based on the rhetoric and semiotics in the 1990s. Research on affect theory began as Spinoza, and Deleuze developed it into an important concept of subjectivity generation. In this philosophical context, the theory of affect evolved along two theoretical paths. The ontological path from Spinoza to Deleuze continued with Masumi. The other path, which was the feminist path, was initiated by Sedgwick. Queer theory, and related feminist studies transformed with the introduction of the concept of affect. The change finds most obvious expressions in explorations of the transformative and utopian potential of desire and feeling. As knowledge/discourse, "affect" is ubiquitous in humanities and social sciences. With a strong claim to theorize the ontological commitment of affect, it is grasped as an effective theoretical tool for studying the political nature of affect, especially in the signifying practice of cultural politics.
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