英文摘要

Why Study the Origins of Chinese Art？ A Critique of Grosse's The Beginnings of Art

Abstract：The \"materials\"used inErnst Grosse's The BeginningsofArt are notliteratures grounded in history or archaeology.The major Western theories ontheoriginofartfail toaddress theoriginsand paternsofChineseart andare even less capableofrevealing spirit ofChinese art.These Western theories bear no real relation to the origins or nature of Chinese art.Oneofthe most fundamental questions forart studies in Chinais to investigate the origin of Chinese art. Onlyby answering this question can we trulyunderstand and interpret the spirit of Chinese art and its profound connotations.

The originofChineseartiscloselytiedtothehistoryofChinesecivilization：wherecivilization began，sotoodid art.Whenancient astronomy interpreted cosmic laws，itled tothe establishmentofsocial ritualsand institutions， and gave risetoacosmologyand its philosophy—this is whatconstitutes \"civilization\".Archaeological sites and artifacts thatreflectancientastronomy，suchasjadeobjects，painted pottryshellfgurines，andvariouspatems， are early materialized forms ofcivilization and ofart.The answer to the origin ofart lies therein.

Keywords：the Chinese question; origin of art;ancient astronomy; early civilization

Phenomenology of Neutralization and the Aesthetic Formation of NegativeEmotionsinEverydayLife

CHEN Haijing

（School ofHumanities，Shenzhen University， Shenzhen， Guangdong 518060）

Abstract： From a phenomenological perspective，an aesthetic object is neither a concrete entity nora mere psychological ilusionbutrathera \"phenomenon\"that exists between therealandtheunreal.Duetothisontological neutralizationofaestheticobjects，value judgments toward themalsoexhibitacertain neutrality.The formation of neutralized aestheticconsciousnessarises from the passve synthesis mechanism of perception，which enables thetransformation of negative emotions in daily life into positive aesthetic experiences.In this sense，passive synthesis holds significant ontological meaning forthe emergenceof theaesthetic.Furthermore，neutralizationis anessential manifestationofaesthetic publicnessin aesthetic emotions.Without the inherent demand for publicness，the neutralization of aesthetic emotions would not be possble，and the related aesthetic judgments would lose their foundation and support.

Keywords： phenomenology;neutralization;aesthetic expression;aesthetic recognition;aesthetic judgment

From Repetition to Typology： The Visual Internalization of Spatial Abstraction

CHENGuosen

（SchoolofPhilosophy，FudanUniversity，Shanghai 200433）

Abstract：Represented byartistssuchasEdRuschaand BerndandHilla Becher，the strategiesof \"repetition\" and \"typology\"incontemporaryphotography foregroundtheorganizationofthephotographer'sperspective，distinguishing themselves fromtheself-replicating，grid-like structureof modernistpainting，which tends toward self-enclosureand centripetalism.Through their infinite extensibility and endlessrepetition，these photographic approaches visually intermalize both social and spatial abstraction within the process of capital accumulation. In doingso，photographyregains itspotentialasatoolof critique inahistorical context where\"landscape\"as a critical resource has lost its effectiveness.It thuschallenges the production of spatial representations under capitalism and the abstract spaces generated by the global expansion of capital.

Keywords： production of space; spatial representation;abstract space;typology;Dusseldorf School

Art， Childhood， and the Ancient Greeks：AReinterpretation of Marx on Art in \"Preface to A Contribution to the Critique of Political Economy

YANGWenmo

（Pan Tianshou CollegeofArchitecture，Art，andDesign，NingboUniversity，Ningbo，Zhejiang315211）

Abstract：Attheendof\"PrefacetoAContributiontotheCritiqueofPolitical Economy\"，Marxleftafragment discussing the imbalance between artistic production and material production.Traditional interpretations of this passage oftenadopta social evolutionist perspective，arguing thatMarx's viewofartcontradicts his fundamental theory.Lukacs'aesthetic studies provideaneffective counterargument to thisclaim，whileE.R.Dodds'intellectual history research offers newreferences forreaffrming rationalist principles.Drawingon discussons by Maimo Cacciari and Baudelaireontoys，childhood，andart，wemayreinterpret this fragment：creationalways entails areturn toa state of innocence，whichcan take various forms—justas there arewildand precocious children，there arealsoprimitive，ruggedartistsanddecadent，affctedones.Theancient Greeks'\"normality\"lay in their ability to findabalanced approach.

Keywords：Marx;art;ancientGreece;children;reason

Two Languages， Two Everyday Lives： Blanchot's Critique of Everyday Life

ZHAO Lingcen

（SchoolofForeignLanguages，ZhejiangUniversity，Hangzhou310058）

Abstract：Asakeyfigure inFrench thoughtontheeveryday，MauriceBlanchot examinesdailylifethrough the lensoflanguage-existence.He distinguishesbetween instrumental everydayspeech and poetic language，as wel as between apparent everyday lifeand true everyday life.Instrumental everyday speech canonly express the apparent everyday，not the true everyday.Both the apparent and the true everyday share a qualityofanonymity. InEveryday Speech，Blanchotraises acentral question： Howdoes the instrumental nature of everyday speech reducedaily life to mere appearances？What diferentiates these two forms of the everyday，and howdo they manifest anonymity？Howcana language be forged tocritique everyday life，and what does such a critique entail？ AlthoughBlanchotintroduces his critiqueof everyday lifemainlyinthis work，scholars consideritasignificant shift inboth everyday thought and literary criticism.Drawing from Heidegger's philosophyof language-existence，phenomenologicalanonymity，linguistics，and literarycriticism，Blanchottakesauiqueapproachbyexploring the true everydaythrough language.He integrates everydaythought into literary criticismand even puts thisliterary critiqueof everyday life into practice through thefoundingof Revue Internationale.

Keywords：critiqueof everydaylife;Blanchot;Heidegger;language;Revue Internationale

Non-Exclusive Digital Intimacy： Landscape， Acceptance，and Ethical Risks

YANG Wenjin，DU Yanyong （SchoolofHumanities，TongjiUniversity，Shanghai200092）

Abstract：Asanew emotional paradigminthe eraofdigitalintellgence，non-exclusivedigital intimacy is driven bymultidimensional individual acceptance mechanisms to meetmodern society's demand for flexible，immediate，and diverseemotional connections.Atthesame time，itchallenges traditional ethical concepts suchas exclusivityand loyaltyin intimate relationships.While demonstratingits value in providing emotional support，this model also raises concerns about weakening users'emotional capacity，emotional dependencyand manipulation， blurred data privacy boundaries，andambiguous ethicalresponsibilities.To ensure itssustainable development，it is necessary todefine itsethical boundaries，optimize technological design，strengthenprivacy protection，clarify legal responsibilities，and establish industry standards.These measures can help mitigate potential risks and provide both theoretical and practical guidance forbuilding innovative human-machine emotional interaction.

Keywords：digital intimacy;non-exclusivity;AIcompanions; emotional interaction; ethical risks;emotional acceptance mechanism

Inquiring DeepSeek from the Perspective of New Speech Act Analysis： Taking the Global Communication of Traditional Chinese Medicine as an Example

LUO Linna2， CHEN Jiaxuan3 （1.School of International Chinese Studies，East China Normal University，Shanghai 200062; 2.International Education College，Shanghai UniversityofTraditional Chinese Medicine，Shanghai 201203; 3.School ofLiteratureandJourmalism，Hanshan Normal University， Chaozhou， Guangdong 521041）

Abstract： Large language models （LLMs） have shown growing value in knowledge dissemination and cross-culturalcommunication，whilealsorevealing variouschallnges.Thisstudybasedontheframeworkofnewspeech actanalysisand using the global communicationoftraditional Chinese medicineas its focus，investigates the influence offactors such as agent， intention，context，and discourseon human-machine dialogues，with DeepSeek as the subject of analysis.The findings suggest that appropriately seting prompts during human-machine interaction can reduce hallucinations and enhance the reliability and academic value of their responses.Furthermore， strategies suchasrole seting，step-by-stepquestioning，andcross-verificationare proposed to improve accuracy. The studyappliesoptimized interaction methods toexplore the situation，paths，and receptionoftraditional Chinese medicine in the global context.Theresults show that whileLLMs may not easilyconstructfactual structures regarding traditional Chinese medicine，theyare efective in capturing its global cognitive structures.Although LLMs can aid the global disseminationof traditional Chinesemedicine，creative methodological design stil largely remains beyond their current capabilities.

Keywords：DeepSeek;traditional Chinese medicine;global communication;new speech actanalysis; factual structure; cognitive structure

Performanceand Performativity

HE Chengzhou

（School ofArts，NanjingUniversity，Nanjing21ooo8;SchoolofForeignStudiesamp;Institute of GlobalHumanities，NanjingUniversity，Nanjing210023）

Abstract：Since the199Os，when JudithButlerintroduced performativityinto genderstudies，the theory has been continuously enriched through interdisciplinary encounters.The riseof new materialism—particularly Karen Barad's posthuman performativity—has onceagain brought performativity to the forefront.In the field of performance studies，thanksto interdisciplinary interactionand integration，performativityhasdeveloped itsown trajectory.Its focus on liveness，corporeality，emergence，and agency from various perspectives has provided criticalintelectual resources for theconstructionofperformativity.It has also spurred innovation in performance practices such as digital performance，robot performance，and experimental Chinese opera. Keywords： performance; theater; performing arts; performativity; avant-garde Kunqu

Tracing the Origins of Performative Aesthetics and a Comparative Analysis of German and Anglo-American Approaches

CHENLin

（Institute ofHumanitiesand Arts，ShandongUniversity，Qingdao，Shandong266237）

Abstract：Sincetheearly2Othcentury，GermanandAnglo-Americantheater performancestudies havedeveloped along two distinctlydifferentparadigms：theGerman literature-to-theatermodelandtheAmerican theater-to-performance model.When discussng which model embodies more performativity，German scholars prioritize drama，whereas Anglo-Americanscholars，ledby Richard Schechner，reject drama in favor of performance.In the constructionof meaning intheatricalproductions，the performative aestheticswithin the frameworksof theatrical semiotics and phenomenology forms a symbiotic and cooperative relationship.These approaches are not mutually exclusive but rather two facets of the same concept.

Keywords： performativity;performative aesthetics; Germanand Anglo-Americanperformance studies;symbiotic meaning construction

PerformanceasInterventions： Two Case Studies froma Performance Studies Perspective

ZHUANG Jiayun

（ZhuangJiayunStudio，LosAngeles，CA91367，UA）

Abstract： InSunamp;Seaand HomeVisit Europe，performance isstrategicallyused toappropriateor intervene in theeveryday，prompting spectators/participants to re-recognize and reimagine normative realities.Performance is bothacultural practiceandananalytical method;itparticipates in the micro-mechanisms through which social norms and power operate，while also offring a pathway for intervening and cultivating subjectivityand agency. Performance studies，asadiscipline，demonstratesahigh degreeofself-awarenes：itaims todissect power structures，respondto socialchanges，highlighttheagencyofeveryday experience，andamplifythevoices ofmarginalizedidentities.Itreveals howsubjectivityis \"performed\"and“reperformed”through action.Underthe theoretical lensofperformance studies，performance isidentifedasacritical practice that activates perception，exposes social structures， and generates alternative social imaginations.

Keywords： performance; performance studies; performativity; everyday life

Zhou Xinfang's Role in -Century Chinese Opera and Cultural History

ZHOUXishan

（ShanghaiArtResearch Center， Shanghai 200040）

Abstract： Zhou Xinfang was a grand master of Peking Opera.Capable ofscriptwriting，directing，and academic research，he demonstrates a profound sense of national responsibilityand a strong commitment torevitalizing Peking Opera and Chinese culture. Zhou played a crucial role in the creative transformation and innovative development of traditional Chinese opera.Among performing artists，he stood out asan exceptional playwrightof historical dramas，crafting and directing works with a distinctive historical perspective and insight.

Keywords： Zhou Xinfang; Chinese opera history; Peking Opera; Kunqu Opera; Zhejiang culture; scholar-artist; historical perspective

The Chinese Production of the Western Sound： The Origins and Early Development of School Piano Education in Zhejiang

LAIShui'e，LIRui

（ZhejiangConservatoryofMusic，Hangzhou310024; Hangzhou High School Qiantang Campus，Hangzhou 311000）

Abstract：The piano，representing \"the Western sound\"，was introduced to China in l6o1.However， the emergence of piano music in China began in the century，driven by collaborations among institutions， educational establishments，and society in Zhejiang.In the late century，the \"Ningbo Guild\" promoted localized piano manufacturing，laying the foundation for piano education in China.Missonary schools became thecradle of early piano education，whilemodernacademies further advanced music instruction.Normal and specializedschools，suchas Zhejiang ProvincialNo.1Normal School，Zhejiang Provincial Xianghu Rural Normal School，and National HangzhouAcademyof Art，playedakeyrole in institutional piano education.At thesame time，they pioneered Zhejiang's concert culture，making significant contributions to the disseminationof piano music in China.

Keywords：piano music;piano industry; Zhejiang; normal schools; concert culture