论美2

汉语言文学本科基本阅读书目古代汉语1.《说文解字》〔东汉〕许慎撰，中华书局1963年版2.《文字蒙求》〔清〕王筠撰，中华书局1962年版3.《中国文字学》唐兰著，上海古籍出版社1979年版4.《文字学概要》裘锡圭著，商务印书馆1988年版5.《中国历代语言文字学文选》洪诚选注，江苏人民出版社1982年版6.《广韵》〔北宋〕陈彭年、邱雍等撰，中华书局1960年版7.《中原音韵》〔元〕周德清撰，中华书局1978年版8.《汉语音韵学常识》唐作藩著，新知识出版社1958年版9.《诗词格律》王力著，中华书局1977年版10.《经典释文》〔唐〕陆德明撰，中华书局1983年版11.《尔雅义疏》〔清〕郝懿行撰，上海古籍出版社1983年版12.《方言笺疏》〔清〕钱绎撰，上海古籍出版社1984年版13.《释名疏证补》〔清〕王先谦撰，上海古籍出版社1984年版14.《训诂学》洪诚著，江苏古籍出版社1984年版15.《马氏文通》〔清〕马建忠撰，商务印书馆1983年版16.《词诠》杨树达著，中华书局1965年版17.《文言语法》杨伯峻著，北京出版社1956年版18.《古书虚字集释》裴学海著，中华书局1954年版19.《古汉语语法学资料汇编》郑奠、麦梅翘编，中华书局1964年版20.《中国语言学史》王力著，山西人民出版社1981年版语言学理论21.《语言论》［美］布龙菲尔德著，袁家骅等译，商务印书馆1980年版22.《普通语言学教程》［瑞士］索绪尔著，高名凯译，商务印书馆1980年版23.《句法结构》［美］乔姆斯基著，邢公畹等译，中国社会科学出版社1979年版24.《语言学史概要》岑麒祥著，北京大学出版社1958年版25.《方光焘语言学论文集》江苏教育出版社1986年版26.《语言与文化》罗常培著，语文出版社1989年版27.《语言问题》赵元任著，商务印书馆1980年版28.《普通语音学纲要》罗常培、王均著，商务印书馆1981年版现代汉语29.《现代汉语语法讲话》丁声树著，商务印书馆1961年版30.《语法论稿》方光焘著，江苏教育出版社1990年版31.《汉语语法分析问题》吕叔湘著，商务印书馆1979年版32.《语法讲义》朱德熙著，商务印书馆1982年版33.《语法答问》朱德熙著，商务印书馆1986年版34.《汉语口语语法》赵元任著，商务印书馆1979年版35.《修辞学通论》王希杰著，南京大学出版社1996年版36.《汉语方言概要》袁家骅著，文字改革出版社1983年版37.《现代汉语参考资料》胡裕树主编，上海教育出版社1982年版文艺学38.《马克思恩格斯论文学与艺术》（一、二册）陆梅林辑注，人民文学出版社1982年版39.《列宁论文学与艺术》中国社会科学院文学研究所文艺理论研究室编，人民文学出版社1983年版40.《毛泽东论文艺》人民文学出版社编辑部编，人民文学出版社1964年版41.《鲁迅论文学与艺术》吴子敏等编，人民文学出版社1980年版42.《西方文论选》伍蠡甫主编，上海译文出版社1979年版43.《西方二十世纪文论选》胡经之、张首映主编，中国社会科学出版社1991年版44.《中国美学史资料选编》北京大学哲学系美学研究室编，中华书局1982年版45.《西方美学家论美和美感》北京大学哲学系美学研究室编，商务印书馆1980年版46.《西方美学史》朱光潜著，人民文学出版社1979年版47.《文艺心理学》朱光潜著，上海文艺出版社1982年版48.《美的历程》李泽厚著，文物出版社1981、1989年版49.《柏拉图文艺对话集》［古希腊］柏拉图著，朱光潜译，人民文学出版社1959、1983年版50.《诗学诗艺》［古希腊］亚里士多德著，罗念生译；［古罗马］贺拉斯著，杨周翰译，人民文学出版社1962、1982年版51.《美学》［德］黑格尔著，朱光潜译，商务印书馆1979年版52.《歌德谈话录》［德］爱克曼辑，朱光潜译，人民文学出版社1978年版53.《文学理论》［美］韦勒克·沃伦著，刘象愚等译，三联书店1985年版54.《二十世纪文学理论》［荷兰］佛克玛·易布斯著，三联书店1988年版中国古代文学55.《中国古代神话》袁珂著，中华书局1960年版56.《诗经选》余冠英选注，人民文学出版社1979年版57.《论语译注》杨伯峻译注，中华书局1980年版58.《孟子译注》杨伯峻译注，中华书局1960年版59.《庄子集释》〔清〕郭庆藩撰，中华书局1961年版60.《春秋左传注》杨伯峻注，中华书局1981年版61.《楚辞选》马茂元选注，人民文学出版社1959年版62.《史记选》王伯祥选注，人民文学出版社1982年版63.《汉魏六朝诗选》余冠英选注，人民文学出版社1957、1978年版64.《汉魏六朝赋选》瞿蜕园选注，中华书局1964年版，上海古籍出版社1979年版65.《乐府诗选》余冠英选注，人民文学出版社1957年版66.《古诗十九首初探》马茂元著，陕西人民出版社1981年版67.《三曹诗选》余冠英选注，人民文学出版社1956、1977年版68.《陶渊明集》逯钦立校注，中华书局1979年版69.《搜神记》〔晋〕干宝撰，汪绍楹校注，中华书局1979年版70.《世说新语笺疏》〔南朝宋〕刘义庆撰，〔南朝梁〕刘孝标注，余嘉锡笺疏，上海古籍出版社1993年版71.《玉台新咏》〔南朝陈〕徐陵编，文学古籍刊行社1955年版，中华书局1985年版72.《唐诗选》中国社会科学院文学研究所选注，人民文学出版社1978年版73.《唐人小说》汪辟疆校录，上海古籍出版社1978年版74.《李太白全集》〔清〕王琦注，中华书局1979年版75.《杜诗详注》〔清〕仇兆鳌注，中华书局1979年版76.《白居易集》顾学颉校点，中华书局1979年版77.《敦煌变文集》王重民等编，人民文学出版社1957年版78.《唐文选》孙望、郁贤皓主编，江苏古籍出版社1994年版79.《花间集》〔后蜀〕赵崇祚编，文学古籍刊行社1955年版80.《南唐二主词校订》王仲闻校，人民文学出版社1958年版81.《宋词三百首笺注》唐圭璋选注，上海古籍出版社1979年版82.《唐宋词选释》俞平伯选注，人民文学出版社1979年版83.《苏轼词选》陈迩冬选注，人民文学出版社1959年版84.《李清照集校注》王学初校注，人民文学出版社1979年版85.《稼轩词编年笺注》邓广铭笺注，上海古籍出版社1978年版86.《宋诗选注》钱锺书选注，人民文学出版社1959年版87.《宋文选》四川大学中文系古代文学教研室选注，人民文学出版社1980年版88.《元杂剧选注》王季思选注，北京出版社1985年版89.《元散曲选注》王季思选注，北京出版社1981年版90.《西厢记》〔元〕王实甫著，上海古籍出版社1980年版91.《元本琵琶记校注》〔元〕高明著，钱南扬校注，上海古籍岀版社1980年版92.《三国演义》〔明〕罗贯中著，人民文学出版社1978年版93.《水浒传》〔明〕施耐庵著，人民文学出版社1975年版94.《西游记》〔明〕吴承恩著，人民文学出版社1955年版95.《金瓶梅词话》〔明〕兰陵笑笑生著，文学古籍刊行社1955年版96.《古今小说》（即《喻世明言》）〔明〕冯梦龙编，人民文学出版社1958年版97.《警世通言》〔明〕冯梦龙编，人民文学出版社1956年版98.《醒世恒言》〔明〕冯梦龙编，人民文学出版社1958年版99.《拍案惊奇》〔明〕凌濛初编，上海古籍出版社1982年版100.《牡丹亭》〔明〕汤显祖著，人民文学出版社1991年版101.《聊斋志异》〔清〕蒲松龄著，上海古籍出版社1962年版102.《儒林外史》〔清〕吴敬梓著，人民文学出版社1977年版103.《红楼梦》〔清〕曹雪芹著，人民文学出版社1959年版104.《官场现形记》〔清〕李宝嘉著，人民文学出版社1957年版105.《长生殿》〔清〕洪昇著，人民文学出版社1983年版106.《桃花扇》〔清〕孔尚任著，人民文学出版社1984年版中国文学批评史107.《中国历代文论选》（一卷本）郭绍虞主编，上海古籍出版社1979—1980年版108.《文心雕龙注》〔南朝梁〕刘勰著，范文澜注，人民文学出版社1958年版109.《诗品》〔南朝梁〕锺嵘著，陈延杰注，人民文学出版社1961年版110.《沧浪诗话校释》〔宋〕严羽著，郭绍虞校释，人民文学出版社1983年版111.《原诗》〔清〕叶燮著，霍松林校注，人民文学出版社1979年版112.《艺概》〔清〕刘熙载著，上海古籍出版社1978年版113.《人间词话新注》王国维著，滕咸惠校注，齐鲁书社1982年版114.《谈艺录》钱锺书著，中华书局1984年版中国现当代文学115.《呐喊》鲁迅著，人民文学出版社1981年版《鲁迅全集》本116.《彷徨》鲁迅著，人民文学出版社1981年版《鲁迅全集》本117.《家》巴金著，人民文学出版社1953、1977年版118.《子夜》茅盾著，人民文学出版社1977年版119.《边城》沈从文著，花城出版社1983年版《沈从文文集》本120.《骆驼祥子》老舍著，人民文学出版社1955、1979年版121.《围城》钱锺书著，人民文学出版社1980年版122.《小二黑结婚李有才板话》赵树理著，人民文学出版社1958年版《赵树理选集》本123.《暴风骤雨》周立波著，人民文学出版社1952年版124.《新儿女英雄传》孔厥、袁静著，人民文学出版社1956、1978年版125.《女神》郭沫若著，人民文学出版社1958年版126.《艾青诗选》艾青著，人民文学出版社1979年版127.《给战斗者》田间著，人民文学出版社1978年版128.《志摩的诗》徐志摩著，人民文学出版社1983年版129.《王贵与李香香》李季著，人民文学出版社1961年版130.《雷雨》曹禺著，人民文学出版社1961年版《曹禺选集》本131.《屈原》郭沫若著，人民文学出版社1982年版《沫若剧作选》本132.《升官图》陈白尘著，群益书店1949年版133.《鲁迅选集》人民文学出版社1983年版134.《保卫延安》杜鹏程著，人民文学出版社1954、1979年版135.《三里湾》赵树理著，人民文学出版社1955年版136.《红日》吴强著，中国青年出版社1957年版137.《林海雪原》曲波著，人民文学出版社1957年版138.《红旗谱》梁斌著，中国青年出版社1958、1977年版139.《青春之歌》杨沫著，人民文学出版社1958年版140.《芙蓉镇》古华著，人民文学出版社1981年版141.《沉重的翅膀》张洁著，人民文学出版社1981年版142.《白鹿原》陈忠实著，人民文学出版社1992年版143.《天山牧歌》闻捷著，作家出版社1956年版144.《郭小川诗选》人民文学出版社1979年版145.《朦胧诗选》阎月君等选编，春风文艺出版社1985年版146.《茶馆》老舍著，中国戏剧出版社1958年版147.《关汉卿》田汉著，中国戏剧出版社1958年版148.《林家铺子》夏衍改编，中国电影出版社1961年版149.《陈毅市长》沙叶新著，上海文艺出版社1980年版外国文学150.《伊利亚特》［古希腊］荷马著，傅东华译，人民文学出版社1958年版151.《俄狄浦斯王》［古希腊］索福克勒斯著，罗念生译，人民文学出版社1961年版《索福克勒斯悲剧二种》本152.《神曲》［意］但丁著，王维克译，人民文学出版社1980年版153.《十日谈》［意］卜伽丘著，方平、王科一译，上海译文出版社1980年版154.《堂吉诃德》［西］塞万提斯著，杨绛译，人民文学出版社1978年版155.《哈姆雷特》［英］莎士比亚著，朱生豪译，上海译文出版社1978年版156.《吝啬鬼》［法］莫里哀著，李健吾译，上海译文出版社1978年版《莫里哀喜剧六种》本157.《忏悔录》［法］卢梭著，黎星、范希衡译，人民文学出版社1980、1982年版158.《浮士德》［德］歌德著，郭沫若译，人民文学出版社1955年版159.《高老头》［法］巴尔扎克著，傅雷译，人民文学出版社1954、1978年版160.《傲慢与偏见》［英］简·奥斯汀著，王科一译，上海译文出版社1980年版161.《名利场》［英］萨克雷著，杨必译，人民文学出版社1978年版162.《大卫·科波菲尔》［英］狄更斯著，董秋斯译，人民文学出版社1958、1978年版163.《红与黑》［法］司汤达著，罗玉君译，上海译文出版社1978年版164.《包法利夫人》［法］福楼拜著，李健吾译，人民文学出版社1958、1984年版165.《父与子》［俄］屠格涅夫著，丽尼、巴金译，人民文学出版社1962年版166.《安娜·卡列尼娜》［俄］列夫·托尔斯泰著，周扬、谢素台译，人民文学出版社1962年版167.《罪与罚》［俄］陀思妥耶夫斯基著，岳麟译，上海译文出版社1979年版168.《契诃夫小说选》［俄］契诃夫著，汝龙译，人民文学出版社1979年版169.《变形记》［奥］卡夫卡著，李文俊译，武汉大学出版社1995年版《卡夫卡文集》（I）170.《尤利西斯》［爱尔兰］乔伊斯著，金堤译，人民文学出版社1994年版171.《喧哗与骚动》［美］福克纳著，李文俊译，上海译文出版社1984年版172.《等待戈多》［爱尔兰］贝克特著，施咸荣译，上海译文出版社1980年版《荒诞派戏剧集》本。

摘要摘要扎迪·史密斯是当代英国文坛一位重要小说家，她的第三部作品《论美》以两个同样来自学术界却秉持相反价值观的中产阶层家庭为轴心展开故事叙述,呈现给读者一个多姿多彩的文学世界。

小说涉及两性关系、家庭生活，以及种族关系与艺术审美。

本论文从福柯的权力理论视角出发，分析《论美》中不平等的权力关系给人物带来的压迫和精神困境。

福柯认为权力无处不在，同时，权力和抵抗密不可分的关系，为受压迫者提供反抗的机会，暗示受压迫者与压迫者两者之间平等对话的可能。

本文认为，作品中处于社会边缘与底层的黑人受到的压迫对自身的影响渗透到生活的各方面。

两位美学教授霍华德和蒙蒂深陷学术之争，只为发挥各自的学术影响力。

在他们的反抗过程中，琪琪重获自我意识；霍华德被音乐唤醒沉睡的自我并重建家庭；卡尔打破凝视与被凝视的二元对立，作出对主流社会价值观念的反抗。

此外，爱和美对生活的启迪意义在作品中也随处可见。

通过对《论美》中人物的规训与反抗进行深入细致的研究与分析，本文探究了21世纪之初来自家庭、学校和社区三个维度的现代规训权力对女性和边缘群体造成的精神困境和压迫，展现了女性意识的觉醒、艺术的力量以及关注内心自我对于建构主体的重要性，揭示了对美的共情和对人际关系的理解于重建温暖家庭、构建和谐社会的重要意义。

关键词：扎迪·史密斯；《论美》；规训权力；反抗AbstractAbstractZadie Smith is an important British novelist.On Beauty,Smith’s third novel, revolving around two middle-class families who hold opposite academic values, represents readers a colorful literary world.The novel covers gender relationship and family life,and discusses racial relation and aesthetic values.From the perspective of Foucault’s power theory,this thesis analyzes the oppression and spiritual dilemma of characters resulting from unequal power relations. Foucault believes that power is everywhere;meanwhile,the inseparable relations between power and resistance provide opportunities for the oppressed to resist,which indicates the possibility of dialogue between the oppressed and the oppressor on an equal footing.The thesis holds that,in the novel,the oppression against the black at the margin or bottom of society has an effect on every aspect of their life.Howard and Monty, two professors of aesthetics,are deeply involved in the academic war in order to exert their academic influence.In their process of resistance,Kiki regains her self-consciousness.Howard wakes up his sleeping self with the help of music and reconstructs his family.Carl breaks the binary opposition between the gazing and the gazed,revolting against the mainstream social values.In addition,the enlightening significance of love and beauty to life can often be seen in the work.Through the in-depth study and analysis of the disciplines imposed on characters and their resistance in On Beauty,this thesis explores the spiritual dilemma and oppression of women and marginal groups caused by modern disciplinary power from three dimensions including family,school and community at the beginning of the21st century.The thesis reveals the importance of awakening consciousness of women,the power of art and the awareness of inner self for the construction of subjectivity. Importantly,it also demonstrates the empathy for beauty and the understanding of interpersonal relationship are of great significance to the restoration of warm family and the construction of a harmonious society.Key Words:Zadie Smith;On Beauty;disciplinary power;resistanceTable of ContentsTable of Contents摘要 (i)Abstract (ii)Introduction (1)0.1Zadie Smith and On Beauty (1)0.2Literature Review (2)0.3Theoretical Foundation (8)Chapter One Disciplines Imposed on Characters (14)1.1Discipline from Family (14)1.2Discipline from School (20)1.3Discipline from Community (23)Chapter Two The Effects of Disciplinary Power (29)2.1Obedience of Behavior (29)2.2Deprivation of Voice (33)Chapter Three Resistance to Disciplinary Power (38)3.1Awakening of Self-identity (38)3.2Inspiration from Art (42)3.3Running Away (46)Conclusion (53)Bibliography (55)Acknowledgements (59)IntroductionIntroductionThis part introduces Zadie Smith and talks about her novel On Beauty. Moreover,the relevant literature review of the novel and the theoretical foundation applied to serve this thesis are discussed at the end of this part.0.1Zadie Smith and On BeautyZadie Smith,originally Sadie Smith,was born to a Jamaican mother and a British father.Her family is relatively modest both in a financial and social sense.She loved music when she was young,and had dreamed to be a ter,she was admitted by University of Cambridge,where she was fond of literature and since then, Smith decided to take literary creation as her pursue for a whole life.Many classic writers are on her list of best-loved writers including Charles Dickens,Franz Kafka, E.M.Forster,and Nabokov,etc.Her talent for writing began to show up when she was in college.As the debut work of a new figure in writing,her White Teeth was vigorously supported by several publishers when it was just a prototype.White Teeth became a hit,praised as the first great novel in the new millennium,which also introduced Zadie Smith to the whole world.Because of her ethnic identity,naturally and inevitably,Smith is labeled as the writer of multiculture,multiethnicity,black,or feminist.However,her later works prove that her writing is undetermined,or it can be called diversity of creation.Her second novel,The Autograph Man does not disappoint critics and readers,though not excellent as White Teeth,winning Jewish Quarterly Literary Prize for Fiction.When she studied in the Radcliffe Institute for Advanced Study at Harvard University,Smith found her inspiration for the next novel,On Beauty.The book enters the list of nominations of the2005Man Booker Prize instantly it is published,and wins the Orange Prize for Fiction the next ter,her two works,NW and Swing Time both reinforce her reputation as a talent writer,through which we can see the potential of her as a writer.Discipline and Resistance:A study on On Beauty in Light of Foucault’s Power TheoryIn her description of On Beauty,Smith represents us a miniature world inhabiting the fictional Wellington,Boston where people with different backgrounds are living in.Two families live in a seemingly happy life.Two professors in Wellington College have waged an academic duel over Rembrandt almost for fifteen years.Two women become friends despite the fact that their husbands are academic enemies.Three children of the Belseys search for meaning in different spheres of life. The street poet pursues a higher status in society.0.2Literature ReviewParallel to E.M.Forster’s Howards End,Smith’s third novel,On Beauty,further goes on being a bestseller after her first novel,White Teeth.At the time of its publication,two fundamental aspects of the novel attract the attention of critics and readers alike.On the one hand is about its obvious theme entitled in its name,beauty; on the other hand,its publicly homage to E.M.Forster’s Howards End catches the eyes of critics to analyze and explore the various connections between the two works.When Jessica Murphy Moo,the Atlantic interviewer,asks Zadie Smith the major themes of her third novel,On Beauty,she claims,“it is a book about beauty...and it’s about all these other things,as well”(Moo95).From then on,many critics abroad begin to study the novel to find“beauty”and“other things”as Smith describes.As to her first and foremost theme of beauty,many scholars admire Smith’s positive attitude towards the power of affective responses to beauty.Arana reckons that Zadie Smith “excoriate[s]those who,for selfish ends,disparage beauty and in so doing sabotage justice,love,joy,and genuine freedom”(2).Further,Anne Rowe addresses that On Beauty deploys“a moral perspective which is rooted in aesthetics and vision”(77). Herald argues that the dissident responses to beauty incite tensions between those experts who carry“field-specific knowledge”and those“who exist on the margins or outside the university”(1).Through the novel,he believes that Smith conveys her unease in the contemporary university with the boundaries between the university inside and the world outside.Alexander Dick and Christina Lupton consider the novelIntroductionas a warning that“the humanities today are in a state of crisis”given the condition that the feeling of beauty is undercut by theory in university class(116).It is difficult to fail to mention E.M.Forster’s Howards End when one talks about On Beauty.Smith starts her novel with words“[o]ne may as well begin with Jerome’s e-mails to his father”(3),which immediately reminds people of the beginning of twentieth century novel,Howards End.Heavily modelling on Howards End,Smith’s On Beauty is informed by the echoes of the plot and storyline of the earlier text.On her acknowledgements page,she admits,“[i]t should be obvious from the first line that this is a novel inspired by a love of E.M.Forster,to whom all my fiction is indebted,one way or the other”(1).Tolan reviews some discussions of other critics as to Smith’s authorial affinities and dissimilarities to Forster.Further,through comparison among her three novels,White Teeth,The Autograph Man,and On Beauty, Tolan extends his argument by analyzing how“On Beauty represents the culmination of an extended engagement with Forster’s work”(135).Connection with marks of Forsterian ethics punctuates Smith’s fiction in the way that is crucial to a fuller understanding of her novel.In her article,Anna Grmelova discusses how ethical vision in Zadie Smith’s third novel,On Beauty,is inspired by E.M Forster’s novel Howards End and Elaine Scarry’s essay On Beauty and Being Just.The characters in the novel are tested based on their reaction to different forms of beauty,“which is a measure of their ability to respond to other human beings.”Anna Grmelova also elaborates how Forster’s motto“only connect”is expanded in the novel to cover characters with different backgrounds of ethnicity,class,education and culture(77).Even a sketchy reading of On Beauty unfolds its intertextuality in the form of a great many allusions to literary texts,pieces of music,paintings and even names. Therefore,some reviewers take a further step to probe into the intertextuality between On Beauty and other works.Margaret Schlegel in Howards End appeals:“only to connect the prose and the passion,and both will be exalted,and human love will be seen at its height.Live in fragments no longer.Only connect,and the beast and monk, robbed of the isolation that is life to either,will die”(Forster196).For Smith,not only does she continue Forster’s ethic vision,but also she updates the previousDiscipline and Resistance:A study on On Beauty in Light of Foucault’s Power Theoryconcerns.One cannot deny that the most prominent influence on Smith’s On Beauty is Forster’s Howards End.The two points of Forster’s novel that Smith seem to acclaim, which are that his characters are“always in a muddle”and“his narrative structure is muddled also;impulsive,meandering,irrational”(Smith2003).She appreciates Forster’s writing form,saying that“Forster’s muddled style has to tell us is that there are some goods in the world that cannot be purely pursued rationally,we must also feel out way through them”(2003).Along the similar line,Heinen’s article focuses on the relationship between Smith’s On Beauty and Forster’s Howards End from a functional intertextuality.The paper recognizes three different functions of the novel’s intertextuality:“in Smith’s novel intertextuality is a means of constituting the storyworld,a means of staging the novel’s themes and a means of poetological self-positioning”(389).Though many critics have declared On Beauty’s intertextuality to E.M.Forster’s Howards End,Fischer detects and details the connections of On Beauty in the content with Zora Neale Hurston’s Their Eyes Were Watching God(1937)and Tell My Horse:Voodoo and Life in Haiti and Jamaica (1938).The name of Zora,the symbol of Voodoo goddess,Erzulie,and the characteristic of the Belseys’three children in On Beauty would not fail to remind one to connect the novel with Zora Neale Hurston and her works(285).Another perspective of review traces the aspect of comparative study of the novel.James Lasdun articulates in The Observer that“the plot of Forster’s Howards End,ingeniously re-engineered,underpins much of the storyline of On Beauty,”while “Forster’s style resonates strongly in the leisured cadence and playful figuration of the many beautiful descriptions and gently ironic authorial interjections that frame and connect the bright pieces of Smith’s mosaic”(9).But Tynan stresses that Smith’s On Beauty“veers from the typical path of adversarial‘writing back,’seeking instead the more diffident aim of establishing links”(73).Wall comments that two works,On Beauty and Saturday,are complementary to each other.He states that“On Beauty considers the effect of an individual’s relationship with beauty on his or her character, whereas Saturday concerns itself with the way in which beauty enlarges one’s attention to and knowledge of the world”(758).IntroductionHaving noticed the fact that“many critics focused on the ways Smith has critiqued neoliberalism,”Taheri talks it by paying his attention specifically to characters such as Levi and Monty.With Levi’s performance protested by the audience at the Bus Stop,Monty’s exposure to the hypocrisy of the neoliberalism,the writer expresses his opinion that“the Other”will be accepted by the white only when they are“the idealized other”who are in line with the white value(95).By comparing Carl with Leonard,Carbajal“explores the literary and ideological connection”between Zadie Smith’s On Beauty and E.M.Forster’s Howards End(35).He affirms the writing way of the novel On Beauty brings“a new‘breed’of postcolonial rewriting”and acclaims that“Smith is breaking new ground by undertaking an honorific rewriting of a canonical text in light of postcolonial issues of race,class,and migrancy”(37).However,Salman Rushdie recognizes Zadie Smith as a member of the traditional British novelists but not in relation to Forster.He states in an interview,“I think the actual note of the book is more of a Waugh-like comedy,rather than Forsterian stuff,which is rather darker”(Tolan137).A final look at literature review is to be about the monographs studying Smith and her works.Dominic Head articulates Smith’s novel White Teeth as an example of multiculturalism that is“an apt summation of the triumphs and the limits of English multiculturalism at the end of the century”(183).Philip Tew feels On Beauty is more pessimistic than Forster’s Howards End,the former mourning“the loss of apprehensible meaning signified in the failure to recognize simple truths and celebrate beauty”(“Zadie Smith”94).Additionally,Tew affirms that“Smith’s technique of overlaying and multiplying view-points,often refracted by others,is highly effective, adding depth to her perspectives”(“Reading Zadie Smith”102).The study on Zadie Smith at home is not as complicated as abroad.From the time being,the books that specifically and exclusively study on Zadie Smith and her works cannot be found.In their History of Contemporary British Fiction,Qu and Ren make an introduction to Zadie Smith and her work,and comments Smith positively that it is her great success to write such an impressive novel at her age of twenty-five (Qu and Ren391).Discipline and Resistance:A study on On Beauty in Light of Foucault’s Power TheoryThe writings about Smith at the very beginning time are mainly introductory.For example,in2004,Liu Naiyin firstly introduces Zadie Smith and her maiden work White Teeth,pointing that Smith emphasizes the creating background,theme and artistic style in her work(95).In the first part of his writing,Luo Feng addresses that the core of On Beauty is to deploy the conflicts because of the cultural and political differences following the descriptions of White Teeth and The Autograph Man in detail from the perspective of storyline and theme(11).The above writings invite the attention to the author and her novels,interesting readers and critics in the following years.With her fame and influence improving,researches strikingly increasing abroad, domestic studies on Smith from different aspects begin.Ma Yanlei and Li Zhihao notice the intertextuality between On Beauty and Howards End,interpreting it from the aspects of plot,theme,and characters(9).Xu Yan talks about the theme of “beauty,”extending her consideration from aesthetic perspective to present the “beauty”articulated in the novel and Smith’s aesthetic proposition.She also states that On Beauty,based on the story frame of Howards End,reveals Smith’s viewpoint that the natural and spontaneous feeling that responses to the beauty plays an important role in appreciating beauty to guarantee one can acquire whole aesthetic perception(38).In his article,Yang Jincai defines Zadie Smith as the representative of the writers who concern the cross-border writing,subculture,and subordinate survey(75). Applying feminist narratology to the analysis of On Beauty,Fu Yue comments the main feminine characters of the story,praising their brave resistance to the unfairness of the patriarchy society(61).Wang Meifang uses space criticism to present Smith’s attention to the social problems in America,taking history and geography into consideration when she studies the space in the novel.She makes it clear that the identity of the marginal person undergoes the process of construction-splitting-reconstruction and her paper helps us understand the novel in a new way(“An Interpretation of On Beauty under the Perspective of Space”80).In her another paper,Wang analyzes“interactions between two families and demonstratesIntroductioncultural conflicts in a global world”under the perspective of Foucault’s spatial theory of power.(“An Interpretation of On Beauty under the Perspective of Spatial Theory of Power”67)There are five master theses studying on the novel On Beauty.Cai’s thesis“takes the novel’s social and historical climate within its inquiry,in the hope of unraveling the mystery of the Anglo-American social malaise in the novel”(3),and conveys Smith’s misgivings about the status quo of middle class in Western world.Zhao Yang reckons that the novel is an attempt of constructing cosmopolitan vision,whose study aims to“explore how Zadie Smith’s On Beauty investigates the ways to think beyond national and cultural borders and to grapple with a critical consciousness of the multiple belong position”(6).Dai’s thesis discusses the ethical theme of On Beauty to reveal Smith’s call for“ethical significance in society and nature and to encourage human to establish ethical norms”to benefit human beings(8).According to E.M. Forster’s concept of“connection,”Liang explores the“connection”theme in On Beauty from the aspects of individual,interpersonal,and social connections.Her writing points out that“‘only connection’can make individuals perfect,build interpersonal friendship,and establish harmonious social order”(3).Fu Die thinks that Smith intends to build a world of“heterogeneous community”against the background of multiculturalism in the novel that provides a new idea and inspiration for solving ethnic contradictions(3).Based on the above literature reviews abroad and at home,one can find the novel On Beauty has been variously studied.Foreign studies mainly focus on the theme of the novel,such as beauty,connection;comparative study of the novel;and post-colonial study of racial conflicts in the work.The domestic research in the early stage mainly introduces the novel and its theme,followed by the intertextuality between On Beauty and Howards End;Then,the study takes its step from the perspective of feminist and space.In recent years,there have been dissertations on the novel.All these show that Smith and her works are attracting more and more attention and discussion.Profound and insightful as they are,the research from the perspective of power is scarce.The various behavioral and psychological changes of theDiscipline and Resistance:A study on On Beauty in Light of Foucault’s Power Theorycharacters in the novel can be analyzed and demonstrated by Foucault’s power theory. For example,Kiki’s change from being attached to her husband and family to looking for her lost self.In addition,a deep exploration of the following questions including the complication of characters’relations,the development of personality,and awareness of self-consciousness,necessitates a more detailed and exclusive analysis of the novel from the perspective of Foucault’s power theory.0.3Theoretical FoundationMichel Foucault is one of the most extraordinary,influential,and meanwhile controversial French philosopher after the post-World War Two period.Connected with the structural and post-structural movements,Foucault not merely has a strong influence in philosophy,but also in a wide range of humanity and history.He is universally known for his power theory,the analysis of which has arguably been the most profound discussion over the recent decades.Foucault opens his influential Discipline and Punish with a publicly brutal and uncivilized execution of Robert Damiens,who was found guilty of regicide after he admitted that he had only planed,with a knife,to frighten the French king in1757. Without commenting on the cruel description of Damiens’being drawn and quartered, Foucault turns to another text documented in1837,which states the rules for young prisoners in pared with the former one,the rules of this document,after eighty years,regulate the offenders with a strict time-table:“[t]he prisoners’day will begin at six in the morning in winter and at five in summer.They will work for nine hours a day throughout the year...”(Discipline and Punish6)After citing the remaining pieces of rules,Foucault comes to his conclusion:now we have“a public execution and a time-table”(7).Two exemplary styles display the change of punishment:the first,which pervaded the whole Europe until the middle 18th century,is sanguinary;the second is a gentler and progressive way to punish.On Foucault’s view,the second modern mode of punishment brings forth what he names “discipline.”The disappearance of the public execution and the appearance of moreIntroductionhumane way to punishment are“not to punish less,but to punish better,”and“to insert the power to punish more deeply into the social body”(82).Outlining the contrasts between these two differentiated approaches of punishments,the transition of the second leads to its intention:The meticulousness of the regulations,the fussiness of the inspections,the supervision of the smallest fragment of life and of thebody will soon provide,in the context of the school,the barracks,thehospital or the workshop,a laicized content,an economic or technicalrationality for this mystical calculus of the infinitesimal and the infinite.(Foucault,Discipline and Punish140)“[I]t demands an inner transformation,a conversion of the heart to a new way of life”(Gutting81).Foucault explicates that the disciplinary techniques which should be applied to control and constrain the prisoners gradually permeate over the modern institutions,like,militaries,schools,hospitals and factories,etc.He employs several lines to depict what a soldier should be like in the early seventeenth century,a soldier should be“lively”and“alert”with“an erect head,”“strong figures”and“thick thighs,”etc(135).However,the soldiers after the middle eighteenth century are made with“a formless clay”and“an inapt body,”which contrasts with the above figures of soldiers who can be recognized from afar(135).Disciplinary technique is so distinctive not because it trains the body as a whole but controls body partly.To train the soldiers to operate and shoot a rifle,the process is broken down into precise steps. The point here is not only to get a soldier who can shoot accurately,but one who can do it according to a set of procedures.In short,Foucault summarizes this modern approach to discipline aims to produce“docile bodies.”Docile bodies not only do what one wants but do it precisely in the way that one wants through manipulation of bodies’elements,gesture,and behavior(138).The success of disciplinary power owes to the use of three simple instruments: hierarchical observation,normalizing judgment and the examination.Hierarchical observation means that one can control what people do only by observing them.In the classical ages,the watchtowers are built to watch,but now the modern architectures replace them to function the same role better.Architecture is notDiscipline and Resistance:A study on On Beauty in Light of Foucault’s Power Theorybuilt for the convenience of the habitant or the user,but for the control of them because they are easily seen from the outside.A well-lit workshop with large windows and wide aisles makes it a comfort environment to work but also facilitates colleagues and superiors to observe each other.Similarly,hospitals set up wards in the light of different disease to control patients effectively.Overall,all of these aim to control the maximal objects with the minimal observer.Foucault gives the example of Bentham’s Panopticon to explain better.The building is constructed in a circle with a watching tower in the center from which the observer can watch the prisoners at any time they want.The prisoners are separated in the cell one by one so that they have no chance to communicate or escape from prison collectively.Each cell is with two windows,one for light,another one for the observer to observe.Each prisoner is in the situation of being isolated and being observed. Therefore,the major effect of such arrangement of the Panopticon is“to induce in the inmate a state of conscious and permanent visibility that assures the automatic functioning of power”(201).In other words,even if the observation is occasional,it still functions continuously.The second approach to disciplinary power is normalizing judgment.Individuals are judged not by whether their action is good or bad,but by the extent to how much it is good or bad.That students learn to pass the exams is not the only purpose;further, they need to be in the rank of the excellent.Normalizing judgment is playing an incrementally part in“classification,hierarchization and the distribution of the rank”(184).The last one is examination,which combines hierarchical observation with normative judgment,and which introduces a type of the formation of knowledge that power exercises(187).Unlike the traditional condition in which the power deployment is seen,disciplinary power in modern society,instead,is exercised invisibly:Disciplinary power,on the other hand,is exercised through itsinvisibility;at the same time it imposes on those whom it subjects aprinciple of compulsory visibility.In discipline,it is the subjects whoIntroductionhave to be seen.Their visibility assures the hold of the power that isexercised over them.(187)The visibility of the disciplined ensures the operation of the disciplinary power. The results of the examination are collected in documents that record the information of the individuals who undergo examinations and through which individuals are accordingly manipulated.For a long time,ordinary individual is unseen.To be recorded is a privilege.Now,the disciplinary techniques make the situation reverse. Now the ordinary people enter to the threshold of description to be better controlled.Until now,we can recognize Foucault’s influence in shaping the understanding of power,which transfers the understanding of power as the instrument and the belonging for the users to coerce and oppress to the idea that power comes from everywhere.In addition,power is dispersed and embodied in discourse and knowledge.Foucault is one representative of those contributors who are credited with the first discussions of“the gaze.”In his terms,after classical age,there exists a new knowledge pertaining to power relations between doctors and patients that are bridged by medical gaze.In the preface of his The Birth of the Clinic:An Archeology of Medical Perception,Foucault explicitly points out the book is“about space,about language,and about death;it is about the act of seeing,the gaze”(Foucault,The Birth of the Clinic ix).He concludes that power permeation elicits the transformation which is from the classical medicine to the modern medicine.Modern medicine begins at the end of eighteenth century.Before then,disease is private for the patient.Patients do not have to be isolated in a closed room in the hospital nor be supervised by the modern medical system.Medical science is classificatory medicine,which means no connection with social space and much more free space,waiting for the symptom showing itself with slightly position of medical observation.On the contrary,modern medicine is clinical,in which regard is entitled the suzerainty:。

智慧课堂的教学反思（通用7篇）在现实社会中，课堂教学是我们的任务之一，反思指回头、反过来思考的意思。

如何把反思做到重点突出呢？以下是小编为大家整理的智慧课堂的教学反思（通用7篇），仅供参考，大家一起来看看吧。

智慧课堂的教学反思1语文课堂中的很多文学形式与数学密不可分。

教师在组织教学时，如果能够有意识地渗透数理思维，实现文理贯通，就能让语文课堂闪现数学的智慧。

一、数学的发散性思维在语文课堂的对联教学中，教师不妨选择那些注重数学文化和数学源流的对联，让数学的发散性思维映射到语文教学中来。

例如：五百卷图书，散列桌上，宏编巨著，喜洋洋兴趣无穷。

看高等代数，泛函分析，线性规划，随机过程，悉心研读，不妨请客探讨。

趁年轻智敏，是应该博学勤专，正更长夜永，安排些美酒佳肴。

莫辜负欧几里得，希尔伯特，马克劳林，拉格朗日。

六千年往事，浮现天际，大江东去，叹滚滚先贤何在？想伏羲画卦，刘徽割园，冲之算率，罗庚定理，伟业丰功，费尽移山力气。

任风吹雨打，却依然流光溢彩，与日夜同辉，经万古环球敬仰。

须记取九章妙论，四元奇术，五家共井，百鸡齐鸣。

这副对联的联句之长，典故之多，内容之繁，时空跨度之久远，可算是联中一绝。

作者将数学文化的历史源流与中国传统文化的载体——对联相结合，不局限于单一的学科背景，而是从发散思维的视角出发，将数学历史融入到语文教学中来。

这不仅让教学过程变得充实而生动，而且使之充满思辨与灵性，闪现智慧的光芒。

二、数学的对称性思维对称是一种美，一种美轮美奂的数学美。

在对联教学中，教师可以将对称美融会贯通到教学情境之中，让课堂变得生动活泼而又富有诗意。

在学生刚接触对联时，教师不妨给出一些简单的对联，让同学比较异同，鉴赏差别。

例如，某市一对数学教师，几经波折，终于结为秦晋之好，同事撰一对联相贺，联云：“爱情如几何曲线；幸福似小数循环”。

“几何曲线”形象地描述了这对数学教师的爱情所历经的曲折坎坷；“小数循环”是一个无穷无尽的数值，借此祝贺新人美满幸福，天长地久，实为神来之笔。

2023年《论美》的教案2023年《论美》的教案1教学目标1、内在美与外形美的主次关系2、举例、对比、比喻等论证方法教学过程一、作者简介弗兰西斯·培根(1561——1626)，“英国唯物主义和整个现代实验科学的真正始祖”(马克思、恩格斯)。

曾任掌玺大臣，升大法官，授子爵。

反对经院哲学和唯心主义，提出“假相”说。

认为经院哲学使人与自然隔绝，束缚于教条和权威之下，不能获得真正的知识。

主张打破“假相”，铲除各种幻想和偏见。

还主张“双重真理”说，强调发展自然科学的重要，提出知识就是力量，认为掌握知识的目的是认识自然，以便征服自然。

在教育方面，强调学校应传授百科全书式的知识。

主要著作有《论科学的价值和发展》、《新工具》。

二、阅读课文，思考预习提示明确：“外形美”轻，“内在美”重。

作者的观点主要是“美德最美”，“把美的形貌与美的德行结合起来”。

理由是美德是最根本的美，再加上美形和美行，就能产生一种更能打动人心的美。

__以比喻和实例提出中心论点：美德最美，然后分三层具体论述：(一)“内在美”是人生最重要的;(二)“最高的美”是行为之美，即美德之美;(三)进一步强调美德最美。

最后勉励人们把美的形貌和美的德行结合起来，让美放射出真正的光辉。

三、课文分析1、理清全文条理：全文共5段，可分三个部分。

第一部分(1)，以一个比喻、一个实例，提出全文的中心论点：美德最美第二部分(2——4)，具体论述美德最美。

第一层(2)，以两种人为例，论述人生内在美的重要。

第二层(3)，通过颜色之美、形体之美、行为之美的比较，论述“最高的美”是行为之美，即美德之美。

第三层(4)，通过某些老人和年轻人的对比，进一步强调美德最美。

第三部分(5)，勉励人们把美的形貌与美的德行结合起来，让美放射出真正的光辉。

2、分析第一部分把美德比作“宝石”，它们的共同特征是“在朴素背景的衬托下反而更华丽”。

这就把美德与朴素联系起来，区分了内在与内在不同的美，突出了美的内在意义。

初中《培根随笔》读书笔记500字一、作者简介弗兰西斯·培根(1561—1626)是英国哲学家和科学家。

他竭力倡导“读史使人明智，读诗使人聪慧，演算使人精密，哲理使人深刻，论理学使人有修养，逻辑修辞使人善辩”。

他推崇科学、发展科学的进步思想和崇尚知识的进步口号，一直推动着社会的进步。

这位一生追求真理的思想家，被马克思称为“英国唯物主义和整个现代实验科学的真正始祖”。

他在逻辑学、美学、教育学方面也提出许多思想。

著有《新工具》、《论说随笔文集》等。

后者收入58篇随笔，从各个角度论述广泛的人生问题，精妙、有哲理，拥有很多读者。

培根提出了“知识就是力量”的著名论断，至今影响我们一代又一代人的生活。

二、作品简介及主要内容《培根随笔》分为《论求知》、《论美》、《论善思想家》、《论真理》、《论健康》、《论家庭》、《论友谊》等多篇随笔。

从《培根随笔集》的“论真理”、“论死亡”、“论人的天性”等篇章中，可以看到一个热爱哲学的培根。

从“论高官”、“论王权”、“论野心”等篇章中，可以看到一个热衷于政治，深谙官场运作的培根。

从“论爱情”、“论友情”、“论婚姻与独身”等篇章中，可以看到一个富有生活情趣的培根。

从“论逆境”、“论幸运”、“论残疾”等篇章中，可以看到一个自强不息的培根。

从“论作伪与掩饰”、“论言谈”等篇章中，可以看到一个工于心计、老于世故的培根。

三、中心思想：理智生活，智慧处世。

四、写作特色：《培根随笔》内容主要是一些议论性质的短文，主要讲叙培根在不同的角度看待事物的态度和想法。

内容涉及到政治、经济、宗教、爱情、婚姻，友谊，艺术，教育，伦理等许多方面，他的语言简洁文笔优美，说理透彻，警句迭出，蕴含着培根的思想精华。

五、名言：1.知识就是力量。

2. 美貌倘若生于一个品德高尚的人身上，当然是很光彩的；品行不端的人在它面前，便要自惭形秽，远自遁避了。

3.一个机敏谨慎的人，一定会交一个好运。

4.一切真正伟大的人物，没有一个因爱情而发狂的人：因为伟大的事业抑制了这种软弱的感情。

培根随笔测试题及答案一、选择题（每题2分，共10分）1. 培根随笔中，作者认为知识的力量在于什么？A. 知识本身B. 知识的应用C. 知识的传播D. 知识的积累答案：B2. 在《论学习》一文中，培根提到学习的目的是什么？A. 为了娱乐B. 为了装饰C. 为了能力D. 为了地位答案：C3. 培根在《论友谊》中提到，友谊的第一要素是什么？A. 信任B. 忠诚C. 无私D. 互助答案：A4. 根据培根的观点，以下哪项不是旅行的好处？A. 增长见识B. 增进健康C. 增加财富D. 锻炼意志答案：C5. 在《论逆境》中，培根认为逆境对人的影响是什么？A. 使人沮丧B. 使人奋发C. 使人堕落D. 使人绝望答案：B二、填空题（每题2分，共10分）6. 培根认为，历史使人_____，诗歌使人_____，数学使人_____，科学使人深刻，伦理学使人庄重，逻辑修辞使人善辩。

答案：明智、灵秀、周密7. 培根在《论爱情》中提到，夫妻之爱使人类_____，朋友之爱使人类_____，淫欲之爱使人类毁灭。

答案：繁衍、高尚、毁灭8. 培根认为，青年人适合于_____，老年人适合于_____。

答案：发明、判断9. 培根在《论时机》中提到，善于选择时机的人，_____；不善于选择时机的人，_____。

答案：无往不利、处处碰壁10. 培根认为，习惯是一种_____，它能够主宰人生。

答案：顽强而巨大的力量三、简答题（每题10分，共20分）11. 简述培根在《论美》中对美的看法。

答案：培根认为，美不在事物本身，而在观赏者的眼中。

美是主观的，它依赖于观赏者的欣赏能力和情感。

真正的美是内在的，它超越了外表的装饰和修饰。

12. 描述培根在《论愤怒》中提到的控制愤怒的方法。

答案：培根在《论愤怒》中提到，控制愤怒的方法包括：首先，认识到愤怒的无益和有害；其次，通过理性思考来抑制愤怒的冲动；最后，通过转移注意力和情绪来平息愤怒。

结束语：通过以上题目的测试，我们对培根的随笔有了更深入的理解和认识。

三人相声《三个男人一台戏》三个男人一台戏(三人相声)甲：各位嘉宾，晚上好！乙：晚上好，各位嘉宾！丙：（快速）晚上好，各位嘉宾！各位嘉宾，晚上好！甲：（吃惊地瞅了一下乙和丙）大伙听到没有？来了俩小偷。

（指着乙和丙）（乙和丙互视、纳闷。

）乙：（吃惊）谁是小偷啊？丙：（吃惊）小偷是谁啊？甲：那还用咨询，算是你们俩！乙：谁得罪你了？骂别人是小偷？丙：你得罪谁了？骂小偷是别人？甲：我可没骂你们！刚才咱们出场的时候，我是如何说的？乙：这还用咨询！俗里俗气的一句大土话！丙：土里土气地一句大俗话！甲：什么大土话、大俗话？乙：（扭捏的女调、动作）各位嘉宾。

丙：（学乙的模样，接过话头）晚上好！甲：这话还土啊！乙：那固然。

丙：固然啦！甲：我是如此说的吗？乙：算是如此！大伙儿看得清清晰楚！丙：算是那样！大伙儿听得楚楚清清！甲：那你们是如何说的？乙：（一本正经、大声、扬手）晚上好，各位嘉宾！甲：那你（丙）呢？丙：（行军礼、大声）晚上好！各位嘉宾！各位嘉宾，晚上好！甲：（对观众）看到没有？他俩偷走了我的话！这算是小偷行为！（对乙、丙）还说别是小偷？乙：大错！这别叫偷！这叫举一反一。

丙：特错！这叫举一反二。

甲：（对观众）嗨？新词倒很多！倒有两下子嗬！乙：两下子多小啊！丙：五下子也有啊！（伸开手掌）甲：（对观众）看来今天来者别善！乙：善者别来（翘起大拇指）。

丙：别来者善。

（翘起大拇指）乙：别善者来！（翘两个拇指）甲：（抱拳）佩服佩服！看来今天咱们三个臭皮匠，还真凑到一块来了哇！乙：什么臭皮匠？咱们可是香皮匠！丙：三个香皮匠，比诸葛亮还亮。

甲：（鼓掌）好好！精彩，真是精彩！那咱们今天就给大伙露一手如何样？乙：（对丙）露两手如何样？丙：露三手！（伸出三根指头）甲：好！要的算是这句话！观众朋友们，赞成的请举手！（举手）乙丙同声：请举手赞成！（举手）甲：看到没有？大伙都高高举手！乙：举手高高！丙：举起高手！甲：要是咱们今天别给大伙露三手的话！乙：确信无颜对江东的父老乡亲们！丙：更愧对江西的兄弟姐妹们！甲：（干咳两声，摸摸喉咙）那咱们可就开始啦！乙：（手势）准备！丙：（手势）开始！甲：那咱们今天说点什么好？乙：随你便！说什么都行！你是导演！丙：你随便！说什么都中！你是编剧！甲：那咱们就开始啦！乙：说吧！丙：放吧！甲：你们俩刚才别是说我的开场白很俗吗？乙：既俗又土！丙：既土又俗！甲：那咱们今天就来个大侃，俗话！如何样？乙：没咨询题！俗话——大侃！丙：侃——大俗话！甲：如何个侃法？乙：你随便说一句，我都能来个换汤别换药！丙：他随便说一句，我都能来个换药别换汤！甲：确实吗？乙：假的吗？丙：别真别假！甲：要别要把你们俩都给换啦！乙：那可不好！丙：那绝不好！甲：什么原因？乙、丙：夫人别承诺！甲：夫人要是承诺了呢？乙、丙：咱们别承诺！甲：好好！既然你们别承诺，咱们就言归正传，大侃俗话！乙：（手势）准备！丙：（手势）开始！甲：你们是mm吗？乙：别是，我是gg！丙：我是男生！甲：好！既然大家基本上gg！咱们就来个男生的话题。

艺术概论选择填空一、单项选择题（在每小题的四个备选答案中，选出一个正确的答案，并将题号及答案写在答题纸上。

每小题2分，共20分）1．____社会性______是艺术的首要本质和第一层面的本质。

A．现实性B．社会性C．认识性D．感性2．在审美认识基础上形成的__C________，是美感产生的根源。

A．审美偏爱B．审美愉悦C．审美观念D．审美风范3．将现实丑转化为艺术美的典范之作《美丽的欧米哀尔》（又名《老妓》）是A___的着名作品。

A．罗丹B．米开朗基罗C．享利·摩尔D．菲利托斯4．《亚威农少女》和《格尔尼卡》是_A_________画派的代表画作。

A．立体主义B．达达主义C．抽象主义D．野兽派5．按艺术形态的感知方式为标准，电影属于_D_________。

A．视觉艺术B．听觉艺术C．想象艺术D．视听艺术6．在戏剧中，_B_________是最基本的表现形式和手段。

A．人物B．行动C．冲突D．情节7．1919年德国魏玛成立的对设计教育影响深远的着名设计学院是__B__A．乌尔姆设计学院B．包豪斯学院C．长岛设计学院D．慕尼黑大学8．__C__是摄影的独特造型手段。

A．光影和色彩B．构形与影调C．光线与影调D．光影与构图9．以下属于艺术发生论中“游戏说”的代表人物是__C__。

A．泰勒B．弗雷泽C．斯宾赛D．沃拉斯切克10．关于艺术审美教育的功能，古罗马的文艺理论家D最早提出了“寓教于乐”的观点A．维吉尔B．亚里士多德C．卡西尔D．贺拉斯二、多项选择题（在每小题的五个备选答案中，选出二至五个正确的答案，并将题号及答案写在答题纸上，多选、少选、错选均无分。

每小题2分，共10分）1．艺术的审美特征有_ABCDE_________。

A．实践性与主体性B．合目的性与合规律性C．形象性D．形式美与形式感E．创造性2．形象思维具有以下的主要特征_ABCDE_________。

A．形象性B．想象性C．情感性D．艺术个性E．审美性3．以下属于现实主义创作方法的特征是_ABC_________。