導(dǎo)語：如何才能寫好一篇中西文化的異同，這就需要搜集整理更多的資料和文獻(xiàn)，歡迎閱讀由公務(wù)員之家整理的十篇范文，供你借鑒。

篇1

關(guān)鍵詞：中小企業(yè);融資;對(duì)策;體制;渠道

中圖分類號(hào)：F27

文獻(xiàn)標(biāo)志碼：A

文章編號(hào)：1000-8772(2009)14-0106-02

在國際舞臺(tái)上，一個(gè)國家是否強(qiáng)盛，很大程度上決定于該國是否擁有一批在國際上有巨大影響力的大型企業(yè)。然而，一個(gè)國家是否繁榮，人民是否安居樂業(yè)，卻決定于該國的中小企業(yè)是否健康發(fā)展。改革開放以來，我國的中小企業(yè)有了令世界為之稱奇的迅速發(fā)展，為國民經(jīng)濟(jì)持續(xù)快速發(fā)展做出了重要的貢獻(xiàn)。但中小企業(yè)長期受到融資困難的困擾，現(xiàn)已成為制約其進(jìn)一步發(fā)展的瓶頸。因此，如何應(yīng)對(duì)挑戰(zhàn)，解決中小企業(yè)普遍遇到的融資困境，就成為整個(gè)國民經(jīng)濟(jì)發(fā)展最為關(guān)鍵的因素之一！

一、困境與機(jī)遇：中小企業(yè)融資現(xiàn)狀分析

現(xiàn)狀之一：中小企業(yè)融資總額與其對(duì)國民經(jīng)濟(jì)的貢獻(xiàn)不成比例

1998年中央正式提出要“增加向中小企業(yè)貸款”，2000年國務(wù)院《關(guān)于鼓勵(lì)和促進(jìn)中小企業(yè)發(fā)展的若干政策意見》后，中小企業(yè)融資形勢(shì)雖然有所好轉(zhuǎn)，總體上看并沒有取得突破性進(jìn)展。長期以來，中小企業(yè)對(duì)國民經(jīng)濟(jì)的貢獻(xiàn)遠(yuǎn)大于50%，但融資額占總?cè)谫Y額比例始終徘徊在30%以下。

現(xiàn)狀之二：融資渠道過窄

目前，中小企業(yè)融資主要是間接融資，其中銀行貸款占絕大份額。據(jù)中國人民銀行最新調(diào)查顯示，我國中小企業(yè)融資的98.7％來自銀行貸款，直接融資僅占1.3％。在求告無門的情況下，不少中小企業(yè)被迫地下資本市場(chǎng)甚至向高利貸借貸，以致在高息盤剝下，走上不歸之路。

現(xiàn)狀之三：融資成本高

且不說有些中小企業(yè)背負(fù)地下錢莊甚至高利貸的高利息之苦，就是向銀行貸款其直接成本和間接成本也顯著高于大型國有企業(yè)。一是申請(qǐng)貸款十次，也難成三兩次；二是銀行利用利率浮動(dòng)之權(quán)，對(duì)中小企業(yè)一般采取寧高勿低的態(tài)度；三是銀行利用其壟斷地位，尋租行為泛濫，中小企業(yè)深受灰色索取之累。

而系統(tǒng)分析中小企業(yè)融資難的成因，主要有以下幾種，同時(shí)，這些原因也是眾多國內(nèi)中小企業(yè)融資時(shí)面對(duì)的主要挑戰(zhàn)：

挑戰(zhàn)之一：企業(yè)弱小，無力進(jìn)入資本市場(chǎng)

我國中小企業(yè)大多規(guī)模小、技術(shù)含量低、管理落后，市場(chǎng)風(fēng)險(xiǎn)很大，不具備進(jìn)入資本市場(chǎng)的條件。

挑戰(zhàn)之二：融資體制改革滯后

目前，商業(yè)銀行推行的授權(quán)授信制度主要是針對(duì)國有大中型企業(yè)而制定的，信貸資金主要流向大型企業(yè)特別是國有大型企業(yè)，近年資金向“大城市、大企業(yè)、大行業(yè)”集中有進(jìn)一步強(qiáng)化的趨勢(shì)。銀行把貸款貸給大型企業(yè)，效率高、風(fēng)險(xiǎn)低、收益豐厚。而中小企業(yè)貸款金額小、頻率高、時(shí)間急、駐地分散甚至偏遠(yuǎn)，可資抵押擔(dān)保的資產(chǎn)少，銀行對(duì)中小企業(yè)貸款的管理成本高、風(fēng)險(xiǎn)大，同時(shí)，利率遠(yuǎn)沒有市場(chǎng)化，都影響了銀行的貸款積極性。

挑戰(zhàn)之三：直接融資門檻高

無論是主權(quán)融資還是債券融資，其門檻之高，是絕大多數(shù)中小企業(yè)不可企及的。

挑戰(zhàn)之四：對(duì)中小企業(yè)的作用和地位認(rèn)識(shí)不足，是其融資困難的根本性原因。

發(fā)展中小企業(yè)既是關(guān)乎國計(jì)的經(jīng)濟(jì)問題，又是關(guān)乎民生的政治問題。但是，人們往往僅僅看重向大型企業(yè)傾斜的短期利益，忽視了支持中小企業(yè)發(fā)展的長遠(yuǎn)利益。因此，支持中小企業(yè)融資的法規(guī)和政策，或因認(rèn)識(shí)模糊而姍姍來遲，或因缺乏配套措施而難以操作。面對(duì)嗷嗷待哺的中小企業(yè)，有識(shí)之士也深感無奈。

二、未來與希望：走出融資困境的對(duì)策

面對(duì)上述種種挑戰(zhàn)，我們要從企業(yè)自身以及外部整體環(huán)境兩個(gè)方面尋找希望：

首先，從整個(gè)行業(yè)的整體從業(yè)環(huán)境來看，我們要從以下幾方面尋求突破。

一是要從根本上加快金融體系改革步伐，為中小企業(yè)融資打開一片天地。用市場(chǎng)經(jīng)濟(jì)的觀點(diǎn)觀察，各大銀行“重大輕小”是可以理解的。我們不能指望銀行以犧牲其自身利益來無條件第支持中小企業(yè)融資，那是有違市場(chǎng)經(jīng)濟(jì)規(guī)律的，對(duì)銀行既不公平也不可持續(xù)。應(yīng)當(dāng)為中小企業(yè)服務(wù)專門設(shè)立一個(gè)銀行體系，制定專門的法律法規(guī)，是大多數(shù)中小企業(yè)求告有門。既然有專門為農(nóng)業(yè)服務(wù)的農(nóng)發(fā)行，也可以仿此辦理。當(dāng)然，與農(nóng)發(fā)行相比，專門為中小企業(yè)服務(wù)的銀行，應(yīng)當(dāng)是完全與市場(chǎng)接軌的金融機(jī)構(gòu)。

二是需要建立新型信用擔(dān)保體系。國有銀行面對(duì)數(shù)量多、規(guī)模小、可抵押擔(dān)保資產(chǎn)少的中小企業(yè)，很難準(zhǔn)確掌握中小企業(yè)的信用狀況，因而難以做出正確的貸款決策。為化解銀行風(fēng)險(xiǎn)于事前，應(yīng)設(shè)立專門為中小企業(yè)服務(wù)的擔(dān)保公司，由擔(dān)保公司作為保證人，化解銀行放貸風(fēng)險(xiǎn)。銀行掌握一個(gè)個(gè)數(shù)量眾多的中小企業(yè)資信情況，成本高、風(fēng)險(xiǎn)大，掌握數(shù)量有限的擔(dān)保公司的資信情況，成本大幅度下降、準(zhǔn)確率大幅度上升。至于擔(dān)保公司分布于中小企業(yè)相對(duì)集中的地方，面對(duì)的是數(shù)量有限的中小企業(yè)，它們的資信狀況很容易收集與掌握。

三是要重塑市場(chǎng)誠信體系。中小企業(yè)應(yīng)加強(qiáng)自身的信用建設(shè)。近年來社會(huì)誠信體系受到極大的沖擊，從產(chǎn)品造假到會(huì)計(jì)造假大有泛濫之勢(shì)，加大了銀行識(shí)別中小企業(yè)信用狀況的難度。銀行從規(guī)避風(fēng)險(xiǎn)出發(fā)，不得不對(duì)放貸持謹(jǐn)慎態(tài)度，中小企業(yè)貸款更為困難。因此，我們需要有針對(duì)性地逐步重塑市場(chǎng)誠信體系。一方面，要發(fā)展信用中介體系尤其是信用評(píng)價(jià)體系，因?yàn)槟壳拔覈庞迷u(píng)價(jià)工作主要由銀行承擔(dān)，其專業(yè)水準(zhǔn)和可信度，都值得懷疑，只有獨(dú)立的第三方評(píng)價(jià)機(jī)構(gòu)提出的結(jié)論，才是可信的。另一方面，要建立信用風(fēng)險(xiǎn)控制與防范機(jī)制，防患于未然，特別是金融、稅務(wù)、工商等機(jī)構(gòu)和部門，要對(duì)掌握的企業(yè)信用記錄，實(shí)現(xiàn)信息共享，從而降低社會(huì)誠信成本。同時(shí)，我們還要從教育層面上，占領(lǐng)道德建設(shè)的制高點(diǎn)，消除拜金主義的影響，要加大破壞誠信原則行為的懲處力度，加大違法違規(guī)行為成本。

篇2

關(guān)鍵詞：中國傳統(tǒng)文化；西方文化；儒家思想；中國武術(shù)

中圖分類號(hào)：G03 文獻(xiàn)標(biāo)識(shí)碼：A 文章編號(hào)：1673-2596（2014）03-0121-02

眾所周知，中國深受西方文化的影響，從“西學(xué)東漸”到改革開放，西方文化漸漸深入我們的生活。但不可忽視的是，中國文化對(duì)西方文化也產(chǎn)生了直接或間接的影響。不管是中國傳統(tǒng)儒家、道家文化，還是武術(shù)、戲曲等中國傳統(tǒng)文化精華，以及節(jié)日、飲食等生活習(xí)俗，都為西方文化添上了濃墨重彩的一筆。

一、西方文學(xué)與中國傳統(tǒng)文化有著解不開的淵源

早在14世紀(jì)初，意大利商人馬可?波羅便以其《馬可?波羅游記》（又稱《東方見聞錄》）將神秘的中國文化帶到了西方世界。16世紀(jì)末，當(dāng)西方基督傳教士踏上中國土地之時(shí)，中國文化再次被更深層次地了解。意大利傳教士利瑪竇堪稱一位不折不扣的漢學(xué)家，他不僅在中國傳播天主教，同時(shí)也是第一位認(rèn)真研習(xí)中國文學(xué)和典籍的西方學(xué)者。他所帶給西方的中國文化，不再僅僅局限于簡單的地理知識(shí)和風(fēng)土人情，同時(shí)還包括對(duì)中國思想文化更深層次的學(xué)習(xí)、研究與思考。他非常推崇中國的儒家思想，認(rèn)為其可為國家的政治、哲學(xué)、教育體制以及禮俗規(guī)范等提供有力的評(píng)價(jià)標(biāo)準(zhǔn)。如他在《十六世紀(jì)的中國：利瑪竇游記》中這樣寫道：“被稱為中國圣哲之師的孔子，把更古的哲學(xué)家的著作匯編成四部書，自己又撰寫了五部。他給這五部書題名為‘經(jīng)’，內(nèi)容包括導(dǎo)向正當(dāng)生活的倫理原則、指導(dǎo)政治行為的教誡、習(xí)俗、古人的榜樣、他們的禮儀和祭祀以及甚至他們?cè)姼璧臉悠泛推渌@類的題材?！盵1]而正是儒家思想進(jìn)一步推動(dòng)了歐洲的文藝復(fù)興運(yùn)動(dòng)，并成為歐洲近代啟蒙運(yùn)動(dòng)的重要思想源泉。法國啟蒙思想家孟德斯鳩在《論法的精神》中以《中國的良好風(fēng)俗》一文這樣論述孔子、孟子“以人為本”的政治思想：“有關(guān)中國的記述，談到了中國皇帝每年舉行一次親耕的儀式。這種公開而隆重的儀式的目的是要鼓勵(lì)人們從事耕耘。不但如此，中國皇帝每年都要知道誰是耕種上最優(yōu)秀的農(nóng)民，而且給他八品官做。”[2]可以說，中國傳統(tǒng)文化對(duì)近代西方產(chǎn)生了很大的影響，大批的中國著作、學(xué)術(shù)典籍等被翻譯后介紹到西方；同時(shí)，一些西方學(xué)者也相繼出版、發(fā)表了大量以推崇儒家思想為代表的中國文化的相關(guān)作品，如法國傳教士諾爾翻譯了《六本中國經(jīng)籍》、萊布尼茲寫出了《中國近事》、吳爾夫?qū)懗隽说摹蛾P(guān)于中國人的實(shí)踐哲學(xué)的講話》等作品?？梢哉f，中國的哲學(xué)、文化以及政治制度等思想對(duì)西方社會(huì)的發(fā)展發(fā)揮了非常重要的積極作用。

以梭羅的《瓦爾登湖》為例，在這本著作中，梭羅多次用到中國的儒家經(jīng)典，其思想與中國的傳統(tǒng)哲學(xué)思想存在很多契合之處。如他在書中這樣寫道：“‘人之所以異于禽獸者幾?！?，孟子說，‘庶民去之，君子存之?！ā睹献?離婁下》）如果我們謹(jǐn)守著純潔，誰知道將會(huì)等到何等樣的生命？”[3]以此來闡述其“人要去惡從善，潔身自好”的主張。與此同時(shí)，梭羅在瓦爾登湖畔與自然親近，吃著簡單的食物，過著陶淵明般“采菊東籬下，悠然見南山”的恬淡生活。他聽聞成湯王的浴盆上刻著“茍日新，日日新，又日新”，便每日清晨在湖中沐浴，在晨光中冥想。他倡導(dǎo)樸素的生活方式，強(qiáng)調(diào)淡泊心境，并在書中用孔子“三軍可奪帥也，匹夫不可奪志也”[4]來激勵(lì)人們要堅(jiān)守自我，不要輕易言棄?？梢哉f，梭羅的思想在很大程度上受到了以儒家為代表的中國傳統(tǒng)文化的影響，以梭羅為代表的美國超驗(yàn)主義者與中國傳統(tǒng)文化有著解不開的淵源。

到了20世紀(jì)，英國著名作家詹姆斯?希爾頓的著作《消失的地平線》更是處處充滿中國文化。小說為讀者描繪了一個(gè)位于中國，有著高聳的雪山、美麗的峽谷，到處充滿祥和與安寧的理想樂園――香格里拉。這里的人們與世隔絕，長壽且年輕，更是有著別樣的生活方式。詹姆斯?希爾頓不僅將這個(gè)神秘的烏托邦置于中國，更是將中國的文化貫穿于故事的始終。

儒家思想是中國文化的主體，其也深深吸引了詹姆斯?希爾頓的目光。香格里拉的人們遵循“適度”的原則，信仰“無為”的思想。而這種“適度”的原則和“無為”的思想，使人們對(duì)“懶散”擁有新的定義和解釋方式，放慢腳步去生活，與西方工業(yè)文明下快節(jié)奏的生活狀態(tài)形成了鮮明的對(duì)比。書中，布林克洛小姐將寺中喇嘛的靜心修煉總結(jié)為無所事事，而最高喇嘛卻認(rèn)為“慵懶對(duì)于做蠢事來說是一種美德”。正是這種“中庸之道”和“無為”的思想，使這里的人們崇尚以適度的慢節(jié)奏來體味生活。

此外，在對(duì)山谷的管理上，儒家的“中庸之道”和道家的“無為而治”思想更是體現(xiàn)得淋漓盡致。香格里拉采取相對(duì)寬松甚至可以說是較為松散的管理模式，而其結(jié)果正如主人公康維所看到的，山谷的人們生活富足，大家都親切和善，一派安寧祥和的景象。這也再次體現(xiàn)出了西方對(duì)中國古代政治管理體制的推崇。

可以說，《消失的地平線》展現(xiàn)了包括儒家的“中庸之道”、道家的“無為而治”等思想，以及中國藏傳佛教在內(nèi)的中國傳統(tǒng)文化精華，體現(xiàn)了西方對(duì)中國傳統(tǒng)文化的探究、推崇與思考。

二、中國傳統(tǒng)文化逐漸成為西方影視作品中的新寵

近年來，西方影視作品亂起了一股“中國風(fēng)”，中國面孔屢屢出現(xiàn)在好萊塢大片中，中國的武術(shù)、傳統(tǒng)工藝以及服飾、飲食等也成為熒屏新寵。中國文化以其獨(dú)特魅力吸引著西方的人們，早在1755年，在巴黎公演的伏爾泰根據(jù)中國元曲《趙氏孤兒》改編的《中國孤兒》就已在歐洲引起轟動(dòng)。

首先，中國武術(shù)是不能不提及的重要元素。西方一直癡迷于中國武術(shù)，成龍和李連杰早已是家喻戶曉的功夫明星。《功夫之王》《功夫熊貓》《功夫夢(mèng)》，這些好萊塢大片展現(xiàn)了不同類別、套路的中國武術(shù)的精彩絕倫和博大精深，并努力去呈現(xiàn)中國武術(shù)的精神和內(nèi)涵。如《功夫夢(mèng)》向人們展示了中國太極拳的“仙風(fēng)道骨”，成龍?jiān)谟捌袑ⅰ皻狻苯忉尀槿f物之本源，體現(xiàn)了中國的道家思想。再如《功夫熊貓》中，老虎、螳螂、蛇、鶴、猴子分別代表了一種中國武術(shù)的拳法，而熊貓的黑白與太極之陰陽有效地結(jié)合了起來，道家順其自熱，無為而治，講求內(nèi)心平和的思想也在影片中屢次體現(xiàn)。可以說，中國功夫是西方不斷追求和發(fā)掘的重要元素，也是中國傳統(tǒng)文化對(duì)西方影響最大的一個(gè)元素。

其次是中國精神和中國人的處事態(tài)度。災(zāi)難大片《2012》展現(xiàn)了在世界末日來臨之際，中國制造的“諾亞方舟”拯救了幾十萬人的生命，使人類迎來了新的紀(jì)元。影片將最后的拯救之地選在了中國，而中國人也在如此短的時(shí)間內(nèi)完成了“只有中國人才能完成的”“諾亞方舟”的制造。面對(duì)困難的不屈不撓，自強(qiáng)不息、頑強(qiáng)拼搏的精神，以及舍己為人的淳樸的中國形象躍然于屏幕?？梢哉f，堅(jiān)強(qiáng)、穩(wěn)重、淡然、友善的中國精神和處事態(tài)度已在西方備受贊賞和推崇。

三、中國傳統(tǒng)文化要讓世界真正接納和推崇

從文學(xué)以及影視作品中，我們可以看到中國傳統(tǒng)文化對(duì)西方文化產(chǎn)生了重要影響。但是，當(dāng)我們?cè)俅紊钊敕治觯瑫?huì)發(fā)現(xiàn)這些影響有時(shí)還處于一種淺顯、或者說是一種借以利用，甚至有時(shí)是誤讀的狀態(tài)。

例如：在梭羅的《瓦爾登湖》中，孔子關(guān)于要用仁義和道德來教化百姓的論述，被用來闡述人要簡單地生活、注重精神的充實(shí)而非物質(zhì)的享受。可以說是對(duì)儒家思想的一種誤讀。又如，《消失的地平線》中，香格里拉最高喇嘛佩勞爾特卻是一個(gè)盧森堡人，而其所選定的最合適的繼承者康維也是英國人，而不是中國人。再如：電影《2012》雖然多次出現(xiàn)中國面孔，贊揚(yáng)中國精神，而事實(shí)上卻是世界人民在美國的領(lǐng)導(dǎo)下成功抵抗人類滅亡災(zāi)難的過程。而中國所扮演的角色僅是一種元素，一種西方宣揚(yáng)自身文化和價(jià)值觀的借力物。

中國是一個(gè)擁有著幾千年歷史和優(yōu)秀文化的國度，其文化對(duì)西方的影響自古以來便未曾停歇。隨著中國國力的不斷增強(qiáng)，國際地位的不斷提升，中國文化越來越受到關(guān)注，文化影響力亦是不斷加強(qiáng)。但值得我們注意的是，中國文化的影響力不能僅僅停留在表面階段，不能僅僅是他國宣揚(yáng)本國文化的墊腳石。中國文化需揭去自己的神秘面紗，讓西方、讓世界更加清晰地了解中國傳統(tǒng)文化的精髓。同時(shí)，中國傳統(tǒng)文化也應(yīng)從西方文化中汲取精華之物，不斷發(fā)展和完善自身，展現(xiàn)自己獨(dú)特的精彩之處，以至讓世界真正接納和推崇。

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參考文獻(xiàn)：

〔1〕利瑪竇，金尼閣.利瑪竇中國札記[M].北京：中華書局，1983.

篇3

隨著心理需求的發(fā)展,人們對(duì)于藝術(shù)的追求比重開始大于對(duì)宗教的膜拜,最終發(fā)展成以審美為主要目的的藝術(shù),從而擺脫了宗教的束縛,也擯棄了宗教意識(shí),成為宣揚(yáng)人自身生命態(tài)度的載體,再到后來“人文主義”的復(fù)活,藝術(shù)最終從對(duì)上天的關(guān)注轉(zhuǎn)向了對(duì)人的關(guān)注,人的世界取代了神的世界,藝術(shù)從宗教中脫離出來。宗教藝術(shù)成為了獨(dú)特的藝術(shù)。

一、傳統(tǒng)陶瓷中的儒教文化

中國傳統(tǒng)陶瓷在其漫長的發(fā)展歷程中,留下了儒教文化深深的烙印。儒家思想貫穿于中國二千多年的封建社會(huì),已滲透進(jìn)國人的骨子里,對(duì)中國人的倫理道德觀、審美觀、生活方式等方面產(chǎn)生了深刻的影響。儒教的基本教義是:敬天、奉祖、孝親、忠信、仁義、崇禮、性善。儒教最根本的思想是禮和樂。中國傳統(tǒng)陶瓷中的日用瓷中有很多反映儒教文化的器皿與陳設(shè)品,我們可以看到儒教文化中的吉祥、和合、中庸等思想。如丹鳳朝陽(鳳凰、太陽)、龍鳳呈祥(龍鳳紋)、六合同春(鹿、鶴、梅花)、多壽多福(蝙蝠、桃子)等祥瑞題材?？鬃犹岢觥叭省钡膶W(xué)說,儒家思想往往以玉比喻人的許多美德,孔子曾論玉說:“夫玉者,君子比德焉”。宋代的龍泉青瓷達(dá)到了青瓷釉色與質(zhì)地之美頂峰,是巧奪天工的人工制造的青玉。龍泉窯的類玉青瓷是儒教文化思想的一個(gè)典型代表。所以類玉瓷器一直以來都深受古人的尊崇。

二、中國傳統(tǒng)陶瓷藝術(shù)中的道教文化

道教是中國的本土宗教,其對(duì)于中國人的世界觀、人生觀、以及生活方式等都有比較大的影響,道教崇尚“天人合一”,認(rèn)為“天地萬物皆以無為本”,人們崇尚自然、追求寧靜、超然物外。中國豐富的傳統(tǒng)陶瓷藝術(shù)中蘊(yùn)含有大量道教文化,在中國傳統(tǒng)陶瓷發(fā)展的不同階段皆有所體現(xiàn)。

首先,在意蘊(yùn)上,宋代的陶瓷藝術(shù)深受其影響。宋瓷改唐三彩的富麗華美之風(fēng),追求一種淡泊、平淡的風(fēng)格,簡潔優(yōu)美,很少有繁縟的裝飾,主要以單色釉為主,這充分體現(xiàn)了宋代陶瓷沉靜雅素的美學(xué)品質(zhì)。宋代人喜歡賞玩最具“天人合一”境界的宋汝瓷。以道家之“大象無形,大音希聲”等理念為指引,以“五色使人目盲”等思想為評(píng)判的標(biāo)準(zhǔn)。

其次,在造型上,中國傳統(tǒng)陶瓷藝術(shù)中有各種道教文化器物,如葫蘆瓶、香爐、八卦瓶、八卦碗等。另外,還有很多道家人物瓷雕、塑像,如八仙、南極仙翁、福祿壽三星等。特別是明代,由于嘉靖皇帝對(duì)道教的尊崇,這時(shí)出現(xiàn)了大量帶有道教文化色彩的陶瓷禮器。在嘉靖時(shí)期的《江西大志》中有這樣的記載:“嘉靖七年以前,案毀不可考。十年磁碟、鐘一萬一千,爵二百。十五年青花白地福壽康寧花鐘一千八百,十六年爵盞二百七十”。

再次,在裝飾上,很多中國傳統(tǒng)陶瓷藝術(shù)器物上帶有明顯的道教色彩。如人物有八仙過海、麻姑獻(xiàn)壽等;植物有仙桃、靈芝、萬年松等;動(dòng)物有云鶴、飛馬、白鹿、麒麟等;除此之外,還有祥云、八卦等?？傊?道教素材經(jīng)常作為中國傳統(tǒng)陶瓷創(chuàng)作的題材,從中也可以看出道教對(duì)中國傳統(tǒng)陶瓷藝術(shù)也有一定的影響。

三、中國傳統(tǒng)陶瓷藝術(shù)中的佛教文化

篇4

關(guān) 鍵 詞：藝術(shù)教育 中國傳統(tǒng)文化 師道 孝道 經(jīng)典 內(nèi)學(xué)

當(dāng)代中國的藝術(shù)教育，應(yīng)根植于本民族傳統(tǒng)文化這塊土壤。這是藝術(shù)教育發(fā)展、成長的源泉，離開它，藝術(shù)教育就會(huì)變成無源之水、無本之木。各種不同的藝術(shù)教育模式，不管是舶來的，還是本土的，無論是學(xué)習(xí)、繼承還是發(fā)展，我們本身應(yīng)具有一個(gè)較高的視點(diǎn)去評(píng)判。要有深厚的文化底蘊(yùn)，否則舶來的東西就難辨良莠，或?qū)е铝硪粋€(gè)結(jié)果，即盲目地排外而妄自尊大。

由于歷史原因，我們今天的藝術(shù)教育出現(xiàn)了偏頗，即重技藝而輕人文。我們今天的藝術(shù)教育與傳統(tǒng)的人文教育產(chǎn)生了嚴(yán)重的斷層，這足以導(dǎo)致人的精神領(lǐng)域極其淺薄與蒼白，加之西方現(xiàn)代工業(yè)文明的介入，我們正在加速度地蛻變?yōu)椤跋憬度恕?，而我們的藝術(shù)教育也增加了“功利”與“競(jìng)爭”的傾向。過分重功利就會(huì)輕仁義，人與人的過度競(jìng)爭會(huì)導(dǎo)致社會(huì)動(dòng)蕩不安，國與國的過度競(jìng)爭最終的結(jié)果將是共同毀滅。

一、東、西方兩種不同文化的比較

近現(xiàn)代西方注重的是科技教育。在科技進(jìn)步帶來經(jīng)濟(jì)發(fā)展的同時(shí)，也帶來一系列社會(huì)問題，如犯罪率上升、環(huán)境污染等。核能的開發(fā)本來是可以造福于人類的，但我們今天卻隨時(shí)都要遭受核戰(zhàn)爭的威脅。因此，人們形容科技是一把雙刃劍，盲目地發(fā)展科技無異于盲人騎瞎馬。

近現(xiàn)代西方注重的是競(jìng)爭教育。孩子從小就被灌輸競(jìng)爭意識(shí)，保護(hù)自己的個(gè)人利益。而中國傳統(tǒng)的教育是教人禮讓、互助合作、共存共榮。中國古人并非不懂科技，但更懂得科技發(fā)展的弊端，因此，大力提倡發(fā)展人文教育，認(rèn)為這樣，社會(huì)才能長治久安。當(dāng)前是科技發(fā)展的時(shí)代，我們無意開歷史的倒車，只是盡可能地讓科技發(fā)展進(jìn)入一個(gè)良性循環(huán)狀態(tài)?？萍己盟埔黄ヒ榜R，需要一名睿智的騎手去駕馭。中國傳統(tǒng)文化在這一方面可以發(fā)揮其積極作用。中國傳統(tǒng)文化是人類智慧的結(jié)晶。我們并非基于一種民族情結(jié)去贊美和宣揚(yáng)自己的文化，也并非基于一種復(fù)古的情結(jié)而厚古薄今。中國傳統(tǒng)文化中的典集稱為經(jīng)典，“經(jīng)”是縱貫通達(dá)，“典”是典范、標(biāo)準(zhǔn)，古今一成不變之真理，可以超越過去、現(xiàn)在和未來。

二、 藝術(shù)教育包含在中國傳統(tǒng)文化的范疇之內(nèi)

馬一浮先生在《論西來學(xué)術(shù)亦統(tǒng)于六藝》文中曾提到：“六藝不唯統(tǒng)攝中土一切學(xué)術(shù)，亦可統(tǒng)攝現(xiàn)在西來一切學(xué)術(shù)。舉其大概言之，如自然科學(xué)可統(tǒng)于《易》，社會(huì)科學(xué)或人文科學(xué)可統(tǒng)于《春秋》……文學(xué)、藝術(shù)統(tǒng)于《詩》《樂》。”藝術(shù)教育依托于中國的傳統(tǒng)文化，不僅可使其理論更加完備、深廣，還可使其教育理念達(dá)到一個(gè)更高、更新的層面，在其空洞的“形式”中攝入更多的人文色彩，使其能夠更多地關(guān)注人本身、人類社會(huì)以及人類的前途命運(yùn)。

三、藝術(shù)教育是中國傳統(tǒng)文化的再現(xiàn)

藝術(shù)教育不應(yīng)被認(rèn)為僅僅是畫畫、唱歌、彈琴等技藝的傳授，藝術(shù)教育是要把人類最高的智慧、德能與才藝以藝術(shù)的形式表達(dá)出來造福于人類。

中國歷史中的繪畫、雕塑、戲劇等大多展示、宣揚(yáng)的主題思想是“忠、孝、仁、義”，在娛樂之余不失其“成教化、助人倫”的社會(huì)教育功用。無論是過去的君主時(shí)代還是現(xiàn)在的民主時(shí)代，藝術(shù)教育也要承擔(dān)起一種責(zé)任與義務(wù)來改善我們的身、心、世界。

中國傳統(tǒng)文化的典集又可稱為內(nèi)典，內(nèi)典即是內(nèi)學(xué)之典集，其中所盛載的智慧與德能來自心靈的最深處，是人心本來具有而非從外學(xué)來的一種親證的現(xiàn)量境界，不是一種想象、推理構(gòu)建的理論。通過這些典集可以開啟我們內(nèi)心深處處于休眠狀態(tài)的智慧，這才是真正意義上的“啟發(fā)式教學(xué)”。中國傳統(tǒng)文化也就是國學(xué)，被馬一浮先生稱之為“六藝之學(xué)”。馬一浮先生在《論六藝統(tǒng)攝于一心》的文章中寫道：“舉網(wǎng)者必提其綱，振衣者必挈其領(lǐng)?！毕纫R(shí)得綱領(lǐng)，然后可及其條目。六藝之教可以統(tǒng)攝一切學(xué)術(shù)，這是一個(gè)總綱領(lǐng)，真是“范圍天地之化而不過，曲成萬物而不一遺。學(xué)者須知六藝本是吾人性分內(nèi)所具的事，不是圣人旋安排出來。吾人性量本來廣大，性德本來具足，幫六藝之道即是此性德中自然流出的，性外無道也。”藝術(shù)也本是人心中分內(nèi)的事。藝術(shù)教育與中國傳統(tǒng)文化也可以說是一種表里的關(guān)系。藝術(shù)教育中的“教育”本身就蘊(yùn)含著中國傳統(tǒng)文化的精神。藝術(shù)教育中的“教”，左邊是“孝”，意思是說老與子、上一代與下一代是一體；右邊是“文”，其意為文以載“道”。教育是師道，其根本是孝道。中國傳統(tǒng)文化的根本就是師道與孝道。孔子曰：“志于道，據(jù)于德，依于仁，游于藝?！钡朗侨松钪娴恼胬怼⒁?guī)律。在人與人之間表現(xiàn)為五倫十義，即“父子、夫婦、兄弟、君臣、朋友”，人與人的關(guān)系應(yīng)以父慈子孝、兄友弟恭、夫義婦順、長惠幼序、朋誼友信、君敬臣忠等關(guān)系為原則。思想、行為不違背自然規(guī)律，并把這種品德保持、發(fā)揚(yáng)、增長就是“育”，久而久之會(huì)有所得，德者，得也。人與人的關(guān)系依止于“仁”，仁者愛人，像愛護(hù)自己一樣愛護(hù)他人，這種愛是“仁愛、博愛”，而非貪愛，這種博大而崇高的品質(zhì)正是出自這樣的文化背景的熏陶，這種品質(zhì)可物化、外現(xiàn)于各種藝術(shù)表現(xiàn)形式。

四、種瓜得瓜、種豆得豆

藝術(shù)教育以人為本，首先要確立一種正確的人生觀和藝術(shù)價(jià)值觀。藝術(shù)不僅僅是個(gè)人的事，它的出現(xiàn)對(duì)于社會(huì)人群會(huì)產(chǎn)生不同程度的影響，這也是藝術(shù)教育首要關(guān)注的事情。高雅的藝術(shù)對(duì)于陶冶人的情操，提升人生的境界是大有益處的。藝術(shù)即使不能起到“成教化、助人倫”的社會(huì)功用，至少也不應(yīng)是“精神污染”而有害于社會(huì)人群，何去何從基本上取決于藝術(shù)教育的導(dǎo)向。

中國傳統(tǒng)文化在人類文明史上的地位與價(jià)值是毋庸置疑的。持反對(duì)意見者不外乎兩個(gè)原因：其一是對(duì)于什么是中國傳統(tǒng)文化缺乏深刻、正確的認(rèn)識(shí)和理解，其二是由于年代久遠(yuǎn)，必然會(huì)產(chǎn)生一些流弊，這是人的原因，并不代表主流文化，且不可因人故而廢其法。儒、釋、道三家構(gòu)成了中國傳統(tǒng)文化的主流，三者之間名詞、名相雖有異，但理無二致。南懷謹(jǐn)先生把儒家比喻成開糧店的，把道家比喻成開藥店的，把佛家比喻成開百貨店的。“儒”字即人需要“仁”，就像人需要糧食一樣重要；得了病不能不吃藥，此病是不懂得愛物的“心病”，物是指我們的生活環(huán)境，再廣一點(diǎn)如山河、大地、宇宙萬物，“物”與我們本來就是不可分割的一體；百貨店自然無所不包。三家的典集稱為“經(jīng)典”，這些典集并非是某個(gè)人的學(xué)術(shù)觀點(diǎn)，所述都是古圣先賢之法，都是真性的流露。真性也叫真心，心、佛、眾生不二，否定了經(jīng)典也就等于否定了我們自己本身。

以傳統(tǒng)文化注入藝術(shù)教育，并作為其精神內(nèi)核，“真、善、美、慧”四字足以概括?！罢妗笔钦鎸?shí)之理，是人生宇宙的真象；“善”是完善，我們內(nèi)心深處本來具足無限完美的智慧、德能與才藝（美、慧自然在其中）?！罢?、善、美、慧”這種教育理念完全可以憑借經(jīng)典的引導(dǎo)開發(fā)出來。

五、傳統(tǒng)文化中的修學(xué)方式給予藝術(shù)教育的啟示

從前有成就的讀書人大致可分為兩類，一類是博學(xué)多聞；另一類是一門專精，眾多的“典集”只學(xué)一部，一部經(jīng)通達(dá)，部部經(jīng)都通達(dá)。全部心思用于一門，久而久之心就定了，由定能萌生智慧，這種智慧深藏于心靈的深處，不是從外學(xué)來的，所以這種學(xué)習(xí)方法稱為內(nèi)學(xué)，經(jīng)典又可稱為內(nèi)典。經(jīng)典就是心靈深處智慧的外現(xiàn)，形于外的經(jīng)典又可啟發(fā)內(nèi)在本有的智慧。這種本有的智慧也就是《三字經(jīng)》中提到的“人之初，性本善”中的“善”，善是完善，是本有而非從外學(xué)來的。這種優(yōu)良的教學(xué)方式完全可以給我們的藝術(shù)教育一種新的啟迪。它不但能使學(xué)生減輕學(xué)習(xí)負(fù)擔(dān)，而且能開發(fā)、增長智慧，的確是事半功倍。這種教學(xué)尤其在人生的早期階段效果會(huì)更佳。人在少兒期，心靈是較為純凈的，接受外來事物快速。十二三歲以前是“黃金季節(jié)”，一旦錯(cuò)過甚為可惜。近現(xiàn)代以來，我們不知有多少代人在重演這樣的悲劇 ，然而幸運(yùn)者也不乏其人，如老舍、矛盾、魯迅、朱自清等一代有成就的文人，他們的白話文文章寫得好，都是從小讀古文讀出來的。清代的金農(nóng)，五十歲才開始學(xué)畫，能名留史冊(cè)，全憑其深厚的國學(xué)基礎(chǔ)；潘天壽在黃賓虹先生簡介中提到：“先生幼年穎異，篤學(xué)好問，曾延宿儒館于家，弱冠游學(xué)金陵揚(yáng)州，得廣交時(shí)賢文藝之士。能琴劍，擅詩古文辭治印，兼攻經(jīng)史與圖釋老氏及金石文字之學(xué)，均深有造詣。”由此可見，黃賓虹先生的藝術(shù)成就無不得益于國學(xué)淵源。從小受過傳統(tǒng)教育的有成就的人不在少數(shù)，而從小讀白話文長大的敢稱大家的又有幾人？不同的教育理念造就不同的時(shí)代與人，如果今天的藝術(shù)教育能從傳統(tǒng)的教育理念中獲取更多的借鑒，對(duì)于促進(jìn)藝術(shù)教育的進(jìn)步與全面發(fā)展，提高全民素質(zhì)有著不可估量的作用。

參考文獻(xiàn)

[1]《論語》，朱熹注，（濟(jì)南）齊魯書社，1996年版

[2]《論語》，徐志剛譯注，（北京）人民文學(xué)出版社，1997年版

[3]蔣金德等主編：《馬一浮集》，（杭州）浙江教育出版社

[4]南懷謹(jǐn)著：《中國佛教發(fā)展史略》，（上海）復(fù)旦大學(xué)出版社，1996年版

[5]《四書五經(jīng)》，管曙光等主編：（北京）宗教文化出版社，1999年版

[6]南懷謹(jǐn)著：《原本大學(xué)微言》，（北京）世界知識(shí)出版社，1998年版

[7]南懷謹(jǐn)著：《論語別裁》，（上海）復(fù)旦大學(xué)出版社，1997年版

篇5

2. Literature review 2

2.1 Conceptions of relative words 2

2.1.1 Definition of body language 2

2.1.2 Conception of culture 3

2.2 Overseas and domestic literature review on body language 3

2.2.1 Overseas literature review on body language 4

2.2.2 Domestic literature review on body language 4

3. Comparison of body language in Chinese and American cultures 5

3.1 Same body language with the same meaning 6

3.2 Same body language with different meanings 7

3.3 Different body language with the same meaning 11

3.4 Unique body language exists in Chinese and American culture respectively 13

4. How to improve the ability of intercultural communication 14

5. Conclusion 15

Acknowledgements 16

References 17

1. Introduction

Speaking of “Body Language” in a board sense, there are in English such expressions as body movement, body gesture, body behavior, etc [1]13,[2]4. A psychologist proposed a formula: the total impact of a message = 7% verbal + 38% vocal + 55% facial expressions and behaviors [3]15.

Nowadays, with the rapid development of economy as well as science and technology, the world is becoming smaller and smaller, and the communication between people from different countries with different cultural backgrounds is increasing [3]19, especially that between people from China and America. Since interpretations of body language vary tremendously from culture to culture, it is a necessity to obtain the ability to understand body language while communicating with people from different countries with different culture. Certainly, there were many previous studies made by scholars on body language. However, most of their researches lay emphasis on the differences of body language between China and western countries instead of those between China and America. Meanwhile, few focus on the history and culture roots of body language and the influence of verbal language on body language. Therefore, the thesis is intended to focus on the similarities and differences of body language including posture, gestures, facial expressions and eye contacts under different cultural backgrounds in China and America so as to enable readers to comprehensively understand the exact meanings of body language and to know the corresponding cultural background and social-cultural characteristics of the two countries.

The thesis is mainly composed of five chapters. The first Chapter serves as the brief introduction of the whole thesis; The second Chapter presents the definition of body language, culture and the literature review of body language abroad and in China; The third chapter focuses on the similarities and differences of body language under different cultural backgrounds in China and America and the corresponding reasons of history, culture and language for those similarities and differences will be analyzed at the same time. The fourth chapter introduces several tips for improving the ability of cross-cultural communication between the two countries. And the last part summarizes the whole content of this paper and restates the importance of body language in cross-cultural communication.

2. Literature review

The observation of body language is important to an effective listener because it communicates what is the most important to the speaker. When a person is reluctant to put his feelings into words, or has repressed his feelings to the extent that he is not consciously aware of his feelings, then his nonverbal language usually indicates his feelings. Now, to have a better knowledge of body language, the author here will first introduce the literature review on body language as follows.

2.1 Conceptions of relative words

When communicating with a person from different cultures, it is extremely important to possess the ability to understand the exact meanings of the body language he uses. Otherwise, it will cause unnecessary misunderstandings and even lead to some trouble. Body language has a close relationship with culture. Thus, before we come to the study on body language under different cultural backgrounds in China and America, we should first of all have a clear idea about the definitions of relative words: body language, and culture.

2.1.1 Definition of body language

Body language is a term for forms of communication using body movements or gestures instead of sounds, or other forms of oral communication [4]25. It is often called kinesics, composed not only of gestures and posture, but also facial expressions and eye contacts [5]23. Gestures refer to the movement of hands or arms to express the meaning of a verbal message which is regarded as the central part of our body language. Posture is the general way of carrying out one’s body, especially the head, shoulders and back when walking, standing, squatting, sitting or lying. Eye contact is a very important part in body language which refers to the study of messages expressed by eyes, including eye contact, eye movements, staring, gaze, blin ks and pupil dilation. The face serves as the most expressive function in our body and it can give us some information about one’s character.

It should be mentioned that since diverse and complex factors are involved in the study of body language, a considerable amount of academic arguments exist concerning which definition of body language is the most valid and workable. Some scholars claim that body language is the language without words; others give a similar statement that body language indicates all communicative symbols except oral speech. Besides the above mentioned definitions, Samovar and Porter (1995) have made some attempts on a more specific and vivid definition of body language like this: Body language is the socially, biologically, psychologically or culturally framed exchange of valuable messages which are not verbally spoken out but conveyed by the body movements, body gestures, symbols or relevant context and surrounding environment etc 143.

2.1.2 Conception of culture

    It is difficult to find even a single definition of culture on which scholars may have agreements since culture is really a very large and evasive concept which is very difficult to define. The anthropologists define it as: common knowledge, perceptions and values that constitute the foundation of social, economical and religious institutions in a society (Svanberg & Runblom, 1988) [7]8. It is said that there have been at least over 150 definitions on culture, but none of them seems to be able to tell us everything about culture [8]14.

But, simply put, “culture” refers to a group or a community with which we share common experiences that shape the way we understand the world. Most professionals view culture as being the sum total of beliefs, rules, techniques, institutions, and artefacts that characterize human beings [8]3. In other words, culture consists of socially created and learned patterns of behaviour shared by members of a given society—a unique lifestyle of a particular group of people.

From above, we know that culture is the collective programming of the mind that distinguishes one group or category of people from another [7]16. Since China is a developing country while America is a developed country, they have their unique styles in the traditions of culture and customs. They are different in many aspects of their life and production which produce a big influence on their body language. When coming to the definition of culture, we should take the cultural backgrounds of two countries’ history, customs and literature into consideration; meantime, we also should take the cultural factors into consideration when we are taking part in cross-cultural communication. By acquiring the basic theoretical conceptions of body language and culture, we will go further for the study on the meanings of body gestures under different cultural backgrounds in China and America in the next part.

2.2 Overseas and domestic literature review on body language

This part concerns literature review on body language made by scholars in China and America. Body language, as a communicative method, has a long history and it can be assumed that the history of body language is longer than any other natural languages. Body language is the subject which has received the most research and the greatest amount of public attention during recent years.

2.2.1 Overseas literature review on body language

Body language may date back to Aristotle, who had studied the expressions of actions. And Darwin’s Expressions of Humans and Animals published in 1872 can be regarded as the initial study of body language 26. These two books are regarded as two milestones in the decade.

The 1960s witnessed a nuclear explosion of studies on body language. There were extensive studies on specific areas of body including eye behaviors, personal space, body movements and body gestures. Dr. Edward T. Hall, professor of anthropology at Northwestern University, went into the cross-cultural perspective of proteomics. Paul Kerman and Wallace Friesen have developed a specific system of classifying nonverbal languages in terms of function in the book The Repertoire of Nonverbal Behavior [11]20 , which provided insights on the origin, usage, and coding of nonverbal behavior.

The 1970s made deep exploration on the aspect of body language from different perspectives, among which was Julius Fast’s Body Language in 1973 in which he explained by presenting interesting instances the meaning of such nonverbal behaviors as gestures, facial expressions, postures, and distance between interlocutors[12]14. In 1970, Ray Birdwhistell coined the term “kinesics”—the systematic study of how human beings communicate through body movements and gestures—in his masterpiece Kinesics and Context: Essay on Body Motion Communication.

2.2.2 Domestic literature review on body language

Chinese researchers have made a great contribution to the study on body language. The study on body language in China originated in the 1970s and prospered in the 1980s 5.

From above literature review on body language, we can clearly get that scholars have made various studies on body language. However, most of the researches laid emphasis on the differences of body language while the similarities were ignored. Furthermore, most of the studies focus on the phenomena of the differences instead of the real reasons of those similarities and differences, such as the differences between history, culture, traditions, customs and expressions of verbal language, etc.

Therefore, the author will focus on the comparison of similarities and differences of body language, including posture, gestures, facial expressions and eye contacts, between China and America and analyze the reasons of the differences with case analysis and comparison method as well. And in the process of this study, in order to thoroughly compare the similarities and differences of body language between the two countries, the author will analyze the above mentioned four categories of body language one by one from the following aspects: (1) the same body language with the same meaning; (2) the same body language with different meanings; (3) different body language with the same meaning; (4) the special body language exists in Chinese and American culture respectively.

3. Comparison of body language in Chinese and American cultures

Body language can serve for communication which can make people communicate very well and smoothly. It is much related to culture. Particular body language and the meaning of body language are largely depended on cultural variations 9. From this we can see that it is important to study body language under the different cultural backgrounds. Besides, we should also have a clear understanding of the deep cultural reasons which cause these differences in body gestures.

In this part, the author elaborates the similarities and differences of body language, including posture, gestures, eye contacts, and facial expressions with case analysis and comparison method from the following four aspects so as to find out the culture root and social-cultural characteristics.

3.1 Same body language with the same meaning

Human beings have thousands of thousands of body gestures. Although different people live in different places, speak different languages, wear different clothes, people share many similarities in daily life as well, for example, happiness, anger, sadness. So it is not difficult to understand that people share a lot of similar body language which expresses the same meaning. In this part, the author discusses posture, gestures, facial expressions and eye contacts th at convey the same meaning in Chinese and American culture and analyzes the reasons as well.

Posture refers to the general way people carry out their body, and it can be divided into three categories: standing, bent-knee positions and lying [15]36. The same posture can be seen in the same situation in different countries. No matter in America or in China, it is easy to observe from TV and movies that individuals of higher status usually use a relaxed postural style, while those who are in a lower status are always in a upright and tense postural style since the “lower status” must show his respect to the senior.

Generally speaking, Gestures refer to specific body movements that carry meanings. Gestures are closely related to speech, illustrating or supplementing it. Gestures carry a great deal of meanings, some of which mean the same in China and America. When they are interpreted by Chinese and Americans respectively, there will not be any problem in understanding each other when communicating. For instance, both Chinese and Americans nod head up and down to mean “yes”, and they  shake head from side to side to mean “no”; move hands from side to side to convey the meaning of saying goodbye to somebody; applaud to show approval of a performance. What is more, touch is one of the most fundamental forms of body gestures, like our oral speech, carries messages about what we are thinking and feeling. Touch is the earliest means we have to make contacts with others. Touch can indicate many things, including affection, aggression, sympathy and even the status or relationship which exists between people [15]25.

Face is the most expressive part of our body. The sayings “one’s face is the mirror of one’s soul,” and “The face tells the secret” tell us the importance of facial expressions. During interpersonal communication, we depend heavily on facial cues when making important judgements. Facial movements can express emotion. Research shows that seven basic emotions have been expressed the same. They are happiness, sadness, surprise, fear, anger, disgust and interest. In China and America, people almost express the above basic emotions with same facial expressions. So we can easily guess the meaning of a person from his or her face although we don’t understand each other’s language.

Eye contact plays an important role in human interactions. People can use eye contact to regulate communication, convey emotions, and indicate degrees of attentiveness, interest, and arousal. It was estimated that we spend approximately 45 percent of our time looking at others’ eyes [16]5. As to eye contacts, Chinese and Americans share some similarities too. For example, when we are in different emotions, such as happy, angry or sad, the expression in people’s eyes will change in accordance with the emotions we are in. Sometimes we control our facial expressions to hide our feelings and we can successfully do that while the expression in our eyes will reveal the secrets since it is too difficult to be controlled. In our daily life, we can not only guess a person’s happiness, anger and sadness from his or her eyes, but we can feel whether he is confident or shy, he is pessimistic or optimistic, he is kind or cruel, and so on. So Eyes are called the windows of man’s heart for they can reveal the implication at a deeper level that spoken language cannot express.

Why do body gestures have the same meaning even in China and America which have their own unique cultural origins and historical characteristics? The reason is easy to understand. It is the mutual knowledge and cognition in people’s life and production during the development of human’s society which offers the answer. What is more, both Chinese and Americans face life and death, love and hate, hope and fear in life. All people’s basic needs and philosophies are similar, even when their expressions is clouded and confused by racial, cultural or political trappings [15]19. And it is these cultural common characteristics upon which we can build understanding, respect and communication. To some extent, we human beings sometimes may have something in common in nonverbal expressions with gorillas, let alone people from different cultures. There are many differences between China and America, such as culture, history, religion, race, color of skin, etc, but just like many idioms we share in life, for example, “love me, love my dog”, “strike while the iron is hot”, “look before you leap” and so on, we share many body gestures in life too.

3.2 Same body language with different meanings

Even body language has a cultural accent, and because of the cultural differences in China and America, the same body gesture differs from each other in its meanings in some circumstances. Just like the saying goes “do as the Romans do&r dquo;, it is necessary to pay attention to such differences in the same body gesture to avoid misunderstandings. Here the author studies the differences of posture, gestures, facial expressions and eye contacts in Chinese and American cultures respectively and ultimately to cultivate their inside resources and reasons.

1. Posture

   There are cultural differences as far as gait is concerned in China and America. For example, Chinese people may regard Americans’ big strides when they walk as being arrogant, and Americans may consider Chinese people’s gait shy and timid. This reason of this difference is simply that Americans need more space than Chinese do since American culture emphasizes individualism while Chinese culture stresses modesty. Also, Standing with arms akimbo is common in America with neutral meaning. Women may do this posture to show their impatience. However, this posture in China means a signal to protect oneself from being approached.

   Sitting posture is a constant source of cultural misunderstandings. In America where being casual and friendly is valued, consciously or unconsciously people often fall into chairs or slouch. However, in China, a slouching posture is a signal of bad manners on many occasions, for Chinese value proper stance and sitting position.

When combined with cultural backgrounds in China and America, it is not difficult to understand the reasons for all these differences. People may note the values, norms, and beliefs or subjective culture of a particular group reflected in the nonverbal codes of the two nations. Americans emphasize informality and seem to have a loose and easy stance, but Chinese ancient philosophy values a rigid, erect and quiet stance. As an old saying: Stand as straight as a pine and sit as upright as a bell.

2. Gestures

Gestures are mainly connected with moving of hands or arms to convey some certain verbal information and emotion. People from China and America may have their own particular gestures, and even the same gesture may have its separate significance for Chinese and Americans in certain contexts because of their different cultures.

In America, snapping fingers is to cause someone’s attention, whereas in China it is considered very rude and ill-mannered. In the United States, using one’s thumb and index finger to make a circle while extending the others has the meaning of “ok or excellent”; while in China, it stands “zero”. Chinese may shake the hand with the palm turning downward to ask somebody to come, while Americans interpret this gesture as saying goodbye or asking somebody to go away [14]15. In American culture, stamping one’s foot means impatience, but in China it conveys anger, frustration and remorse. Moreover, in Chinese culture, using the index finger up to tip one’s own nose means that “I did this or it is me”, while for Americans they will think this to be ridiculous or funny.

Touch is more acceptable on Chinese campus than American campus, although both China and America are classified as non-contact culture 20.

There are still many other gestures varying culturally in this part. For instance, almost everyone has the experience of pointing a way for others. From childhood, Chinese are taught that it is impolite to use forefinger to point at things. This conception is reflected in the Chinese idiom “指桑罵槐” and “指手畫腳” which convey the negative meaning [7]16. Since we have known the different meanings of the same body gesture in China and America, now, let’s come to the reasons for these differences. We all know that in China, culture is mainly connected with Han culture. Chinese culture emphasizes collectivism under the influence of Confucianism and Buddhism while American culture advocates individualism and independence which is clearly reflected in the different meanings of touch. That is to say, a country’s religion, economy and literature, to some extent, have a deep effect on the meaning o f body language. Therefore, we should not only learn the meaning of body language, but also learn the cultural backgrounds that hind behind it.

3. Facial expressions

Facial expressions are connected with culture. There are differences between Chinese and Americans in facial expressions. Facial movements can express one’s emotions. Research shows that seven basic emotions have been expressed the same by facial expressions [20]11. However, the meaning of facial expressions differs in the values of culture and differs in the context of interpersonal communication.

Many examples can be found in daily life. In America, children often make facial expressions when they are disapproving of or questioning actions of their parents, while in China, children who do this are thought to disrespect their parents. As for the relationship between children and parents in a family, being obedient is what Chinese parents hope their children to do, while American parents seem partial to respect their children’s own choices, which is well reflected in the expressions of body language. So it is difficult for Americans and Chinese to understand each other’s ways of education. The main reason is that the difference in family education lies in the differences in their cultures.

In American culture, people are willing to express attitude and emotions. The American teachers like to open a friendly environment in his class to make his class more relaxing and interesting. They are more willingly to use body language frequently, such as making face and rising eyebrow, while the teachers in China tend to control their feelings or cover their emotions and attitude. The reason for this difference is that Chinese are deeply influenced by Buddhism which has the spirit of being earnest in front of others. Therefore, the American teacher’s class is more vivid to the Chinese students compared with the Chinese ones.

Because of the different understandings of the same facial expression, people may misunderstand each other in daily life. A typical example is that even laughter has the potential to cause misunderstanding. An American who fell off his bike would be very angry when bystanders laughed while Chinese man would not be angry at the laughter, because in Chinese culture the laughter conveyed sympathy or understanding, but not ridicule [20]20. From this example we can see how important to learn the meaning of the same body language in different countries.

4. Eye contacts

Every culture has its unique social rules governing eye contact, and because of the cultural differences, Chinese and Americans use eye contact in different ways. During conversations Chinese do not have much eye contact because they believe that prolonged eye contact is rude, threatening and disrespectful. It is a symbol of bad behaviour. Children are often told not to look downward when talking to the elders, indicating the attitude of submitting and respecting. While American adults demand that children look at them while they are speaking, for the reason that in a conversation too little eye contact may be interpreted negatively since lack of eye contact reveals one’s lack of interest, honesty, or one is inattention, or even mistrust. One more example, in Chinese culture, looking at something or somebody with fixed gaze means curious and sometimes surprise; while according to American culture, it indicates impoliteness which makes people embarrassing and uneasy [17]9.

Why does the same eye contact mean different in China and America? Each of the two countries has its own unique history, culture and customs which have a big influence on the meaning of body language. For example, in China, people advocate respecting the old and loving the young, while American people advocate being equal which may explain why there is different meanings in eye contact. As a result, we should lay emphasis on the study of a country’s history and culture which make a difference in acquiring a foreign language and improving the ability of cross-cultural communication.

Chinese and American have different ideas or attitude toward the same thing which is also a reflection of the difference between two cultures. So it is the two different psychological characteristics that lead to different understandings of the same body gesture. In other words, we can say that it is the different ideas and attitudes which contribute to the different views on the same thing. In a word, the different expressions and the difference between the cultures are the main reasons of this phenomenon. Therefore, learning a second language is more than learning the language itself, it is also a process of learning its culture and history.

3.3 Different body language with the same meaning

Though the culture differences exist in China and America, different body gestures have the same meaning in some circumstances. Since people in different countries with different cultural backg rounds may use different body gestures to convey some certain similar meanings, so do Chinese and Americans. Since the differences in posture and eye contacts in this aspect are rare, the following part will focus on posture and gestures with the same meaning and their analysis.

1. Posture

Besides the universal ones, each culture has its cultural cues in the determination of posture and sitting habits which offer insight into the deep cultural recourses. This is true in Chinese and American cultures in which exist many differences in posture.

In China, both men and women are likely to stand when they are introduced to others, which mean being respectful to other people, while in America, to show this respect to others, women need not stand up except when the man’s social status is very high. This may be for the reason that Chinese culture advocates being immodest and respectful to others and American culture values that ladies first.

    The example mentioned above is very interesting actually if you compare the two cultures carefully. China has a long history of feudal society, so the social status of women was much lower than that of men in the past. After the establishment of new China, the women have been liberated and the social status of women is higher than before or is almost as high as that of men. In some parts of China, especially in some south-east cities of China, the status of the wife is even higher than that of husband in a family. This can be reflected in many aspects. The typical example is that the wife who governs the budget of a family instead of the husband. Although it emphasizes “equality” very much in America, actually it is also not easy to realize, for example, after a woman’s marriage, her family name will be replaced by her husband’s family name which means the wife’s social status is mainly decided by that of her husband since the wife has already lost her original family name. At the same time, since American culture has been greatly influenced by that of Britain and the British has its unique “gentlemen” culture, so it is understandable that American gentlemen advocate “ladies first”.

2. Gestures

We all know the culture differences cause different understandings on the same body gesture. In China, if one put the hand toward someone with the fingers downward waving several times, he just wants the person to come to him; while in America, in order to convey the meaning of asking someone to come, one should put the hand toward someone with the centre of the palm upward, shaking the index finger back and front. What is more, Chinese and American use their fingers to determine the number in a different way. For Chinese, “one” is used thumb to count, while in America, they use the index finger to count the number of “one”. Besides, the Chinese way of counting on the finger is contrary to that of American way. The former is by bending the fingers from a stretched palm. The latter is by stretching the fingers from a clenched fist. In China, the gesture of forefinger of one hand stretched, tip touches one’s own face several times quickly, similar to scratching, but with the forefinger upright conveys that “shame on you”. In American culture, to express the same meaning, they would use forefinger of each hand stretched, palms down before somebody’s body, and one forefinger makes several brushing moving over other forefinger.

Actually it is not difficult to understand why Chinese and American express the same meaning with different gestures. For example, “I am up to my throat” is used to describe a person is full in English, so an American often puts a hand on his throat to mean that. In China, when a person is hungry, he will say “My belly (stomach) is hungry”, so when he is full, he will pat his stomach slightly to convey the meaning that he is full. Actually, there are many examples like this in our daily life. Therefore, we can see that body language has a close relationship with a country’s culture. Exactly, our body gesture is another expressive form of our language, while body language is more vivid and brings much fun compared with language.

Although researchers estimate that the human face can display over 250,000 different expressions [21]10, it is still very difficult to find that different facial expressions mean the same in China and America since they share more in common while this phenomenon can be found between the above two countries and Japan. People often feel difficult to understand or wonder why the Japanese smiles when he is embarrassing, angry or sad. In Japanese culture, smile can be used in many occasions to express different meanings. Americans prefer to smile towards strangers in public to show politeness or friendliness, Japanese smile a lot too while Chinese may not have any facial expression which does not mean impo liteness or unfriendliness. As to eye contacts, since few examples can be found, we have to omit this part.

3.4 Unique body language exists in Chinese and American culture respectively

Since each culture is unique, each culture has its unique body language. There is some certain body language which just exists in one culture, but no other equivalent in the other culture.

There is a lot of unique body language in Chinese culture. In Chinese culture, delivering things to customers or other people with one’s two hands is to show respect to them; when someone pours a cup of tea or a glass of wine for the visitor, the visitor shall open one of or both hands to show thanks; in Chinese culture, a fist with the little finger expanded show the meaning of the last one. Upraised forefinger of each hand coming together in front of the boy until the two touch has the meaning that the boy and the girl is in love or they are a good match. The above body language cannot be found in American culture or other cultures.

At the same time, there are body gestures which only exist in American culture which Chinese do not accept. Sucking nails is to say that one is in the state of a big mental burden or very worried and do not know what to do; braving the nose with one’s thumb and the other four gingers bent actively is to show challenge and defiance; putting one’s arms on the chest with fists clenched and thumbs down, hemming a few times is to show one’s strong objection to the idea or suggestion. American individuals value privacy, and men always maintain a distance of 45-80centimeters between them when they are talking. Males rarely touch each other, except for a brief but firm handshake. They certainly never hold or sit with arms around one another 18. In American culture, shrugging the shoulders can indicate either a feeling of helplessness or of unconcern: “Don't ask me, I don't know what to say,” or, “I couldn't help it.” But Chinese people never do that.

Since the development of history, culture, politics and economy in China is totally different from those in America, the two countries have their unique traditions and customs. And all of these differences have been reflected on various aspects of people’ life including body language. Also, we should always keep in mind that it is the variety of culture that makes the world so colorful.

4. How to improve the ability of intercultural communication

It has been recognized that body language is an essential part in communication process. “He that has eyes to see and ears to hear may convince himself that no mortal can keep a secret. If his lips are silent, he chatters with his fingertips; betrayals ooze out of him at every pore.” People from different cultures have their own cultural perceptions, beliefs, values, and social customs which greatly determine their communicative ways. Since body language plays an important role in cross-cultural communication, it is very important to grasp body language of another country if we want to communicate with it.

Therefore, in order to improve the ability to communicate with American people, we must follow the tips as shown: (1) be familiar with the body language in America, especially the body language that has different meanings and some special body language; (2) understand the deep cultural backgrounds of body language in America and the discrepancies between Chinese and American cultures; (3) fully respect the body language in American culture and try to learn to communicate with their body language, especially those special ones; (4) in cross-cultural communication, we should publicize the Chinese body language and the corresponding culture to Americans. For the purpose of further understanding the body language in American culture, we need to improve the cognition of the importance of body language from the perspective of culture.

It is not very difficult to communicate with another culture successfully without appropriate manners and behavior. Therefore, knowing more about the culture, and body language in China and America is a very important task when studying English. The learning of English is not only a process of the learning of spoken English and written English but also a process of learning the corresponding body language.

5. Conclusion

Through the above comparison and analysis on body language and its associated culture in China and America, we can learn that there are many similarities and differences between the body language of China and America: (1) “the same body language express the same meaning” can be found a lot in both cultures; (2) “the same body language express different meanings&rd quo; can be commonly seen, which exists in posture, gestures, facial expressions and eye contracts; (3) “different body language express the same meaning” is less common, which mainly exists in posture and gestures; (4) Both Chinese culture and American one have their own unique body language. As to the reasons of the similarities and differences between the two cultures, the differences in the two countries’ history, culture, habits and language mainly cause the differences in the meanings of body language and the common features in the human community in human’s life and production are the major reasons of the similarities.

Through this dissertation, on the one hand, the body language of the two countries has been compared, on the other hand, the main reasons for the differences in body language between China and America has been analyzed. But the purpose of this paper is to increase students’ awareness of intercultural communication and reaching the aim of a successful and effective communication. So in the process of learning English, we shall pay more attention to or perhaps learn to use American’s body language when we communicating in English. Furthermore, when in cross-culture communication, we will never neglect the cultural differences.

 

Acknowledgements

I would like to express my deep and sincere gratitude to my supervisor, Lecturer Li Jiangxia, who patiently supervised my dissertation and was at times very willing to offer me illuminating advice or suggestions. Without her help, I could not have finished this dissertation smoothly.

I am also indebted to other teachers and my classmates who have given me a hand when I was faced with some problems. They not only offered me their warm encouragements but also shared with me their ideas and books.

My greatest personal debt is to my beloved family, who have cultivated a soul of sensitivity, hospitality, and honesty out of me, and offered a harbor of happiness and sweetness for me. I gratefully acknowledge the help of them, and for their loving considerations and great confidence in me through all these days.

The remaining weakness and possible errors of the dissertation are entirely my own.

 

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                誠 信 承 諾

我謹(jǐn)在此承諾：本人所寫的畢業(yè)論文《肢體語言在中美文化中的比較》均系本人獨(dú)立完成，沒有抄襲行為，凡涉及其他作者的觀點(diǎn)和材料，均作了注釋，若有不實(shí)，后果由本人承擔(dān)。

 

                承諾人（簽名）：      

篇6

關(guān)鍵詞： 傳統(tǒng)文化；中職教育；中職德育；德育教育

G711

隨著經(jīng)濟(jì)社會(huì)的發(fā)展，社會(huì)現(xiàn)象紛繁復(fù)雜，社會(huì)思想浮躁，傳統(tǒng)文化缺位現(xiàn)實(shí)社會(huì)。作為對(duì)中華文明的有效傳承，傳統(tǒng)觀念文化在現(xiàn)代思維體系中依然居于核心位置[1]。在中職德育教育體系當(dāng)中，對(duì)于傳統(tǒng)文化的重視程度不足，直接導(dǎo)致了德育教育水平的低下。在中職院校中，學(xué)生相對(duì)較為年輕，人生觀、世界觀、價(jià)值觀正在形成階段，將傳統(tǒng)文化融入德育教育，提升傳統(tǒng)文化的影響力和教學(xué)性，對(duì)于提高中職德育教育水平具有重要意義。

一、中職德育教育現(xiàn)狀分析

從中職德育教育體系及內(nèi)容安排角度來分析，傳統(tǒng)文化在德育教育課程中所占的比重明顯不足，教學(xué)時(shí)間少，學(xué)生和教師不夠重視，教學(xué)手段和模式老舊，都直接制約中職德育教育水平的提升。

（一）重視程度不足

隨著經(jīng)濟(jì)社會(huì)的快速發(fā)展，中等職業(yè)教育迎來了發(fā)展的黃金期。隨著教育規(guī)模的擴(kuò)大，中職專業(yè)教育水平不斷提升，為社會(huì)輸送了大量專業(yè)技術(shù)人才[2]。為了強(qiáng)化辦學(xué)競(jìng)爭力，中職院校將大部分教學(xué)精力都分配給了專業(yè)技術(shù)學(xué)習(xí)，對(duì)于德育教育，明顯存在著重視程度不足的問題。在開展道德教育的過程當(dāng)中，課程流于形式，不僅學(xué)生沒有足夠的學(xué)習(xí)興趣，教師自身也缺乏相應(yīng)的重視程度，直接導(dǎo)致了教學(xué)目標(biāo)不明確、教學(xué)手段單一、課程內(nèi)容枯燥等問題。在中職德育教育過程當(dāng)中，一般都是單純的理論宣教，傳統(tǒng)文化在課程內(nèi)容中的比重很小，這就直接導(dǎo)致了學(xué)生對(duì)于課程缺乏認(rèn)同感，認(rèn)為德育教育都是一些“假大空”的東西，很難深入學(xué)習(xí)。因此，在中職德育教育當(dāng)中，德育學(xué)科沒有受到足夠的重視，特別是傳統(tǒng)文化內(nèi)容在德育教育體系中更是嚴(yán)重缺位，根源在于思想重視程度的不足[3]。

（二）傳統(tǒng)文化缺位現(xiàn)代課堂

在開展中職德育教育過程當(dāng)中，不管是教育工作者還是學(xué)生，都存在著這樣的思維誤區(qū)，認(rèn)為進(jìn)入中職學(xué)校學(xué)習(xí)，就是為了學(xué)習(xí)一技之長，掌握一門專業(yè)技術(shù)，對(duì)于思想道德內(nèi)容的學(xué)習(xí)是次要內(nèi)容。因此，導(dǎo)致了德育教育學(xué)科時(shí)間安排不足，課程內(nèi)容缺乏體系性和針對(duì)性，一般教學(xué)內(nèi)容也都局限在職業(yè)道德上，中華傳統(tǒng)文化在現(xiàn)代課堂中難覓蹤影。在開展教學(xué)過程當(dāng)中，德育教育老師不能將現(xiàn)代職業(yè)要求和中華傳統(tǒng)文化有機(jī)結(jié)合，長此以往，德育教育水平的發(fā)展，跟不上專業(yè)技術(shù)科目的發(fā)展。

二、傳統(tǒng)文化在中職德育教育中的意義分析

（一）可以提高中職學(xué)生思想道德水平

在中職教育當(dāng)中，培養(yǎng)具有良好思想道德水平的專業(yè)人才，是開展現(xiàn)代職業(yè)教育的重要目標(biāo)。在開展專業(yè)技術(shù)的同時(shí)，通過開展德育教育，傳導(dǎo)中華傳統(tǒng)文化，可以有效提升學(xué)生思想道德水平，滿足現(xiàn)代教學(xué)要求。

職業(yè)技術(shù)人才是社會(huì)發(fā)展的中堅(jiān)力量，通過愛國主義、集體主義、大局意識(shí)、節(jié)儉美德等中華傳統(tǒng)文化的學(xué)習(xí)，可以有效提升學(xué)生綜合素質(zhì)。在開展德育教育過程當(dāng)中，最大的問題就是學(xué)生缺乏足夠的認(rèn)同感，對(duì)于思想政治教育內(nèi)容缺乏足夠的認(rèn)知，認(rèn)為其都是空洞的理論，缺乏足夠的支撐。因此，將傳統(tǒng)文化融入中職德育教育，可以夯實(shí)學(xué)科基礎(chǔ)，在宣講理論的同時(shí)，通過中華傳統(tǒng)文化，尋求理論根基，提升教育的扎實(shí)性和針對(duì)性[4]。在中華傳統(tǒng)文化中，強(qiáng)調(diào)儒家思想，強(qiáng)調(diào)仁義禮智信，在現(xiàn)代社會(huì)競(jìng)爭發(fā)展當(dāng)中，這些思想依舊具有重要作用，對(duì)于德育教育課程而言，中華傳統(tǒng)文化是其理論根基和思想源泉，通過強(qiáng)化中華傳統(tǒng)文化教育，可以有效提升德育教育水平和效果

（二）可以服務(wù)專業(yè)技術(shù)課程學(xué)習(xí)

開展德育教育，可以有效服務(wù)專業(yè)技術(shù)學(xué)習(xí)，幫助學(xué)生形成正確的價(jià)值取向，引導(dǎo)學(xué)生更好的開展專業(yè)學(xué)習(xí)。利用德育教育引導(dǎo)學(xué)生學(xué)習(xí)專業(yè)內(nèi)容，強(qiáng)化學(xué)生責(zé)任意識(shí)，傳統(tǒng)文化具有重要作用。從古至今，中華傳統(tǒng)文化與現(xiàn)代職業(yè)發(fā)展一脈相承，中華傳統(tǒng)文化思想和典型案例，都是對(duì)職業(yè)精神的最好佐證，通過強(qiáng)化傳統(tǒng)文化在當(dāng)代中職德育教育體系中的有機(jī)融入，可以有效引導(dǎo)學(xué)生開展專業(yè)學(xué)科的學(xué)習(xí)，提升學(xué)習(xí)的效果，保障專業(yè)學(xué)習(xí)按照正確的價(jià)值方向發(fā)展。

在中職德育教育當(dāng)中融入傳統(tǒng)文化，可以有效激勵(lì)學(xué)生學(xué)習(xí)熱情，強(qiáng)化學(xué)生對(duì)于中職德育教育學(xué)科的重視程度，與此同時(shí)，傳統(tǒng)文化具有一定的歷史人文特征，可以豐富德育教育體系，提升課程教育的趣味性和針對(duì)性，吸引學(xué)生參與其中，更積極主動(dòng)的完成德育教育課程，提升學(xué)習(xí)的自主性和積極性。

三、傳統(tǒng)文化融入中職德育教育的路徑

（一）充分利用歷史文化資源

在開展中職德育教育的過程當(dāng)中，強(qiáng)化傳統(tǒng)文化地位，不能是無本之木、無源之水，不要空洞宣講理論，要強(qiáng)化典型案例和典型人物的選取，提升教育內(nèi)容的針對(duì)性，讓學(xué)生找到學(xué)習(xí)的榜樣和抓手，提升德育教育效果。中華傳統(tǒng)文化中包換的歷史文化資源，正是開展當(dāng)代中職德育教育的理想素材[5]。

（二）利用傳統(tǒng)文化提升綜合素養(yǎng)

中華傳統(tǒng)文化滲透當(dāng)代中職德育教育體系，不是對(duì)理論的單純宣講，在傳統(tǒng)文化當(dāng)中，不僅有為國獻(xiàn)身的仁人志士，同時(shí)也要技術(shù)精湛的能工巧匠，通過思想道德和專業(yè)水平兩方面的引導(dǎo)，可以有效提升德育教育水平，同時(shí)服務(wù)專業(yè)教育，打造全面發(fā)展的現(xiàn)代技術(shù)人才。

四、結(jié)語

綜上所述，在中職德育教學(xué)體系中，傳統(tǒng)文化是不可或缺的一部分。在實(shí)踐教學(xué)當(dāng)中，德育教育工作者要突出傳統(tǒng)文化地位，充分挖掘傳統(tǒng)文化中蘊(yùn)含的歷史文化資源，為現(xiàn)代德育教學(xué)提供有效的指引和督導(dǎo)。通過對(duì)傳統(tǒng)文化的發(fā)掘，提升學(xué)生的文化認(rèn)同感和思想道德水平，提升中職學(xué)生思想道德水平。不可否認(rèn)，在中職德育教育體系中，普遍存在傳統(tǒng)文化缺位的問題，亟待教育工作者做出相應(yīng)改進(jìn)，進(jìn)而實(shí)現(xiàn)中職德育教育水平的有效提升，為社會(huì)培養(yǎng)更多具有良好思想道德水平的專業(yè)技術(shù)人才。

參考文獻(xiàn)：

[1]黃海星.新時(shí)期中職德育教育中傳統(tǒng)文化教育的應(yīng)用[J].考試周刊，2013（A4）：162-163.

[2]李春來.淺談傳統(tǒng)文化在當(dāng)代中職德育教育中的意義[J].科教文匯，2011（20）：19，24.

[3]楊涵.淺談中華傳統(tǒng)文化在中職德育教育中的作用[J].科學(xué)時(shí)代，2014（2） ：147-148..

篇7

【關(guān)鍵詞】英語教學(xué)；文化元素；中西文化滲透

語言是文化的載體，語言與文化相得益彰。學(xué)習(xí)一門外語能夠促進(jìn)人的心智發(fā)展，有助于學(xué)生認(rèn)知世界的多樣性，提高人文素養(yǎng)。構(gòu)建在英語教學(xué)中文化素養(yǎng)，有助于培養(yǎng)學(xué)生積極向上的情感態(tài)度和價(jià)值觀。

詞匯教學(xué)滲透文化意識(shí)

眾所周知，中國的方塊漢字和西方的拼音文字，其根源都是象形文字。在語言教學(xué)中，詞匯是最活躍的部分，匯教學(xué)必含文化涵義。如Christmas，聯(lián)想The Spring Festival，最好能介紹二者的異同。Thanksgiving Day，追其朔源，首創(chuàng)于美國，1879年加拿大人也開始過感恩節(jié)。Thanksgiving Day原意為感謝印第安人，后來人們?cè)谶@一天感謝其他人，是美國最地道的假日。美、加兩國人都過感恩節(jié)，卻時(shí)間不同：美國過感恩節(jié)一般在11月22--28之間，加拿大人在每年10月的第二個(gè)星期一。詞匯pig往往和詞匯“懶惰、笨拙、骯臟”等關(guān)聯(lián)，于是eat like a pig（大吃大喝）和you greedy pig（你這個(gè)貪吃的家伙）以及What do you expect from a pig but a grunt？（狗嘴里吐不出象牙來） 等應(yīng)運(yùn)而生。在it is raining cats and dogs（傾盆大雨）中的dog一詞，中國學(xué)生就覺得不可思議，其實(shí)dog和cat里也有其文化意義。原來在古老的倫敦，一場(chǎng)大雨過后整個(gè)街道一片，淹死了許多迷路的貓和狗。雨過天晴，滿街死狗死貓，似乎天上下了眾多的貓和狗，成就了it is raining cats and dogs這個(gè)成語的文化背景。 另外，從漢語中的“狗仗人勢(shì)、狗膽包天、狼心狗肺”等成語和俗語“狗改不了吃屎”等對(duì)dog的描述是貶義性的，但西方人的a lucky dog（幸運(yùn)兒），to be top dog（身居要位），every dog has its day（凡人也有得意日）等折射出dog是個(gè)褒義詞，A dog is the man’s best friend的美麗句子形容狗我們也就不足為奇。在西方喊comrade，對(duì)方會(huì)呆若木雞，但Sir或Madam，Lady等，交流就無障礙。

語言中，身體部位器官也能表示不同文化含義。a true friend reaches for your hand and touches your heart.一句中的hand 和heart已經(jīng)超越了“手”和“心臟”，而分別引申為“援手”和“心靈”之意。Don’t see eye to eye with somebody（不贊同某人）中的eye不是“眼睛”的意思；have a big mouth（愛到處嚷嚷）中mouth不是嘴巴的意思；laugh from ear to ear（笑得合不攏嘴巴）中的ear也失去了“耳朵”的本意。

句子\用和中西文化滲透

談到句子，七年級(jí)下冊(cè)Unit 4 Don’t eat in class就油然而生。這是一個(gè)典型的祈使句。祈使句包含了很多文化元素：中國人性格剛烈，較為直接，長晚輩意識(shí)、上下級(jí)觀念較西方人士更強(qiáng)，習(xí)慣在更多的場(chǎng)合使用祈使句，最常見的“請(qǐng)”字就足以展現(xiàn)中國人的禮貌和客氣。英語國家則完全不同，謙讓和禮貌室人們的基本禮儀，有時(shí)會(huì)讓這些初到西方國家的中國人感到很不適應(yīng)。我國語言工作者沈瑛談及在英國的感悟時(shí)曾這樣描述：“與我們想象的不同，英國人指路的時(shí)候都習(xí)慣用if開頭的語句，這樣聽起來更禮貌、更親切，如：If you walk around the corner over there， you will see a bridge. The station is not far from there. If you go upstairs to the second floor and turn left. The office is down the corridor on your left.他們還生怕你沒領(lǐng)會(huì)，總要重復(fù)幾遍直到放心為止。有時(shí)他們的熱情相助真的讓你感動(dòng)?！币虼?，在英語教學(xué)中，多用Would you mind not making noise？You’d better work hard，If you work hard， you will do better等委婉句。盡量避免Don’t be in my way和go away這樣的句子。

Long time no see（好久不見）是一個(gè)典型的中式英語句子，但其融合中西文化。近年來，漢語以外來詞的身份進(jìn)入英語語言屢見不鮮，如：tofu（豆腐）.mahjong（麻將），typhoon（臺(tái)風(fēng)），tai ji（太極），jiaozi（餃子）putonghua（普通話），中西合璧的wan ton soup（餛燉），taikonaut（中國航天員）等。必須提醒：不能讓學(xué)生隨意創(chuàng)造諸如good， good study， day day up；people mountain people sea（人山人海）中式英語，以免產(chǎn)生誤解。

閱讀教學(xué)中滲透文化意識(shí)

篇8

【關(guān)鍵詞】空；文字學(xué)；中國傳統(tǒng)文化

一、引言

“空”字是中國歷史上出現(xiàn)較早的一個(gè)字，譬如《詩經(jīng)·小雅·大東》中有這么一句話：小東大東，杼柚其空；《管子·五輔》也有一句話：“倉廩實(shí)而囹圄空”；《史記·莊子傳》：“皆空言無事實(shí)”……隨著其字義的不斷發(fā)展，所涉及的領(lǐng)域也越來越廣泛，“空”不僅是詩歌的一種境界，也是繪畫藝術(shù)的一種境界，還是佛教道教的理想境界，更是人生的至高境界。

二、“空”字的本義

辨析一個(gè)詞的本義，首先我們要從這個(gè)字的字形入手。因?yàn)闈h字的形體結(jié)構(gòu)與意義有密切的關(guān)系，所以字形所反映出來的意義往往是其本義。這就需要了解字形演變的歷史，特別要當(dāng)心字體傳訛的情形。

漢代許慎《說文解字》里對(duì)“空”的解釋是：空，竅也，“從穴工聲”，哭紅切。“竅也”，就是“孔”的意思。“從穴工聲”首先說明，“空”是一個(gè)形聲字，“穴”的偏旁表示這是一個(gè)與土壤相關(guān)的字。除了從字形初步推測(cè)，我們還必須要有實(shí)際的語言材料來證明。《史記·五帝本紀(jì)》“舜穿井為匿空旁出”，意思就是說舜把井壁穿一暗孔到別的井出來。再根據(jù)商務(wù)印書館《古漢語常用字字典》第5版對(duì)“空”的釋義有：

kǒng 通“孔”。洞。

因此，我們可以初步判斷“空”的本義是洞，且是一個(gè)通假字，通“孔”。

三、“空”字詞義的演變與拓展

一般說來，一個(gè)字的字形所表現(xiàn)出來的意義與實(shí)際語言中作為詞的意義相符合時(shí)，就是它的本義?？墒?，隨著社會(huì)的發(fā)展和語言自身的因素，字詞的意義也在不斷地作漸進(jìn)式的發(fā)展或改變。字詞的本義有時(shí)候卻反而消失不用，只用最常用的基本義了。為了解析“空”字的字義發(fā)展脈絡(luò)，筆者將自己在ccl語料庫中搜檢到的包含“空”字的句子進(jìn)行一個(gè)統(tǒng)計(jì)，大致把握了“空”這個(gè)字的字義以及演變情況。從資料庫檢索來看，“空”字含義豐富，詞性多樣，可以作名詞、形容詞、動(dòng)詞、副詞。下面，一一舉例說明：

【名詞】

⒈空中；天空

⑴復(fù)道行空。——唐·杜牧《阿房宮賦》

⑵濁浪排空?！巍し吨傺汀对狸枠怯洝?/p>

⒉佛教用語。萬物從來都是因緣而生，沒有固定，虛幻不實(shí)，“空”亦特指天臺(tái)宗所立“空、假、中”三諦中的真諦。佛教認(rèn)為世界一切皆空。因此佛教又稱“空門”。如“遁入空門”。

“空”又可以指佛門，如：空王，這是佛教徒對(duì)佛的尊敬。

⒊道家謂虛靜之性。

⑴澹乎若深泉之靜，泛乎若不系之舟。不以生故自寶兮，養(yǎng)空而浮。——《文選》。

【形容詞】

⒈空虛；內(nèi)無所有。引申為空虛處，空檔。

⑴空，空虛?！稄V韻》

⑵常有高猿長嘯，屬引凄異，空谷傳響。——《水經(jīng)注·江水》

⑶而或長煙一空。——宋·范仲淹《岳陽樓記》

⒉罄盡；空其所有。引申為沒有。

而或長煙一空，皓月千里?！吨傺汀对狸枠怯洝?/p>

⒊廣闊；空曠。

寥寥空宇中，所講在玄虛?！笏肌对伿贰?/p>

⒋岑寂；幽靜。如：空峽，指寂靜的山谷

⒌明凈無掛礙。如：空灑灑，形容胸懷灑脫，毫無牽掛

⒍空洞而不實(shí)際；空泛；虛構(gòu)。

⑴以空言求璧?！妒酚洠苛H藺相如列傳》

⑵欲以如父如天之空名?！?？黃宗羲《原君》

【動(dòng)詞】

使空虛；使罄盡。

⑴內(nèi)空府庫之藏，外乏執(zhí)備之用?！尔}鐵論·本議》

⑵乃出圖書，空囊橐，徐徐焉實(shí)狼其中?！R中錫《中山狼傳》

【副詞】

⒈徒然；白白地。

⑴白云千載空悠悠。——唐·崔顥《黃鶴樓》

⑵空余淚痕?！濉ち钟X民《與妻書》

⒉只；僅。

⑴雪上空留馬行處?！啤め瘏ⅰ栋籽└杷臀渑泄贇w京》

⑵此處空余黃鶴樓?！啤ご揞棥饵S鶴樓》

“空”的基本義是

空，這個(gè)義項(xiàng)使用的頻率高，致使我們都錯(cuò)把它當(dāng)本義。而“空”眾多的義項(xiàng)都是通過“天空”這個(gè)義項(xiàng)或引申或比喻得到的。但是，這個(gè)佛教和道家用語“空”具體和“天空”這個(gè)義項(xiàng)是什么關(guān)系，還有待進(jìn)一步考察。不過，我們可以考證其形容詞的義項(xiàng)全是“天空”這一義項(xiàng)直接引申得到，又叫做輻射式引申：

罄盡；空其所有 空洞而不實(shí)際；空泛；虛構(gòu)

↖ ↗

明凈無掛礙天空空虛；內(nèi)無所有

岑寂；幽靜 廣闊；空曠

比喻義，是就漢字（詞）的原有的某義項(xiàng)因?yàn)楸扔鞫a(chǎn)生的意義。因此，比喻也是一種引申義，是一種間接引申。“空”之后的動(dòng)詞和副詞義項(xiàng)都是其“天空”義項(xiàng)的間接引申，也就是比喻義。“空”字的字義發(fā)展，符合人們認(rèn)識(shí)事物的順序，它的詞義事從具體到抽象的一個(gè)變化過程。需要我們注意的是，文字的發(fā)展與社會(huì)文化有著密不可分的關(guān)系。文字與社會(huì)文化的關(guān)系也是文字學(xué)研究的主要問題。下面，我們就研究下“空”字在中國傳統(tǒng)文化中的意義和內(nèi)涵。（下轉(zhuǎn)第217頁）

（上接第215頁）

四、“空”字在中國傳統(tǒng)文化中的意

⒈佛教之“空”

佛教自漢代傳入中國，一直為廣大人民所尊奉，其主要原因還是在于佛教的既豐富又深刻的思想和精神。“空”為其主要思想之一，當(dāng)然，佛教的“空”，并不是我們常態(tài)理解的“一切皆空”“什么都否定”的消極思想，而是有著多層次的內(nèi)涵。 首先，佛教的“無我觀”用現(xiàn)代人的眼光來詮釋，那就是：精神高于物質(zhì)，人格高于生命，社會(huì)高于個(gè)人。這就要求我們忘記小我，成全大我；淡泊名利，淡泊享受。這也是“無我”與“有我”“自性”與“空性”的辯證統(tǒng)一。其次，佛教的“空”，從解脫的意義來說就是要超越生命的意義，視“生老病死”為常事，坦然面對(duì)自身的缺陷以及不足，不張揚(yáng)不喧囂，活出最真的自我，這是“無?！迸c“有?！钡年P(guān)系。

有無、虛實(shí)、真假這些根本理論問題和實(shí)踐問題在歷史上既留下了理論誤區(qū)，也留下了理性思辨，利弊兼有。而復(fù)雜的佛家讓筆者這個(gè)佛教“門外漢”始終不得其要領(lǐng)，因此，寥寥幾筆，勾勒便罷。

⒉詩之“空”

毋庸置疑，“空”是文學(xué)語言，“空”在王維詩中營造出了一種幽美空靈的意境，它似乎是詩人王維用來描述其詩性人生的特殊畫筆，將美展現(xiàn)在讀者面前。在王維的神筆下，有“空山”、“空谷”、“空林”等意象和“虛空”等意境。如：

空山新雨后，天氣晚來秋?！渡骄忧镪浴?/p>

行踏空林落葉聲。《過乘如禪師蕭居士嵩邱蘭若》

“空山新雨后，天氣晚來秋”這句詩中的“空”，一字傳神，這一“空”字不僅寫出山中的幽靜，更寫出密林之幽深，溪流之清澈，以及詩人的情感。而“行踏空林落葉聲”中的“空”也是不可替換，絕妙至極，空曠的樹林，滿地的落葉，颯颯的風(fēng)聲，以及腳踏落葉發(fā)出的沙沙聲，惟妙傳神。

古詩詞中頻頻出現(xiàn)“空”字，一是與其本身的表現(xiàn)力有關(guān)，“空”者“無”也，而“無”正適應(yīng)了詩歌充分想象力的需要，以“無”來表現(xiàn)無窮的“有”。二是與封建社會(huì)正直文人的坎坷經(jīng)歷有關(guān)，因?yàn)椤翱铡弊挚蓚鬟f出詩人或隱居或抑郁或惆悵或憤懣等諸多復(fù)雜的感情。

⒊人之“空”

不管是佛教，或者道家思想的宣揚(yáng)，我們不得不承認(rèn)，“空”字在人們心目中的地位，古往今來，文人墨客，很多人都在追求這個(gè)“空”。玄奘的“空”成就了他的大愛，歷經(jīng)艱辛，取得真經(jīng)。當(dāng)然，人們所追求的“空”首先是“六根清凈”“無欲無求”，這與佛教人士的又有所不同，“六根清凈”“無欲無求”是說：追逐夢(mèng)想，實(shí)現(xiàn)自我。人更應(yīng)該注重的是自己的心靈凈化，是自己的精神提升，也就是說精神世界的豐富。

五、結(jié)語

綜上所述，在中國傳統(tǒng)文化中，“空”是一個(gè)意義豐富的字，是詩歌領(lǐng)域一個(gè)很重要的概念，是貫穿佛教道家哲學(xué)理論的中心思想，是人們追求的心靈至高境界。尚“空”心態(tài)，在建設(shè)社會(huì)主義精神文明的今天也有現(xiàn)實(shí)意義。在“空”的環(huán)境中，我們的創(chuàng)造才更加純粹。

【參考文獻(xiàn)】

[1]董山民.析“空”[j].唐山學(xué)院學(xué)報(bào)，2003（12）.

[2]馮廣藝.空：作為元語言和對(duì)象語言——以王維詩為例[j].江漢大學(xué)學(xué)報(bào)， 2005（10）.

[3]許慎.說文解字[m].中華書局，2004.

[4]王力.古漢語常用字字典（第5

篇9

關(guān)鍵詞：觀念藝術(shù)；傳統(tǒng)文化；資源；分析

根據(jù)以往的相關(guān)研究，我國傳統(tǒng)文化資源處在開發(fā)階段，而且前衛(wèi)藝術(shù)也逐漸走在時(shí)代的前沿，尤其在20世紀(jì)90年代，該類藝術(shù)形式已經(jīng)取得了相應(yīng)的發(fā)展。隨著當(dāng)前文化資源的開發(fā)，不斷推動(dòng)觀念藝術(shù)的發(fā)展，尤其在資源共享的階段。綜合以往的相關(guān)研究，波折認(rèn)為可以運(yùn)用一個(gè)簡單的公式來總結(jié)當(dāng)前我國藝術(shù)的創(chuàng)作態(tài)度，具體總結(jié)如下：中國當(dāng)代社會(huì)=文化問題（觀念內(nèi)容）+中國文化資源（表現(xiàn)形式）。這個(gè)公式在一定程度反映了當(dāng)前資源的運(yùn)用與開發(fā)，促進(jìn)各種資源共享。

1 我國觀念藝術(shù)發(fā)展概況

1.1 觀念藝術(shù)在我國流行的概況

根據(jù)我國藝術(shù)發(fā)展的相關(guān)要求，不斷推動(dòng)當(dāng)前觀念藝術(shù)的發(fā)展。由于我國文化發(fā)展的情況與西方顯著不同，尤其在當(dāng)前文化背景下，不斷創(chuàng)新各種文化機(jī)制，尤其在藝術(shù)發(fā)展過程中，不斷推動(dòng)我國觀念藝術(shù)的發(fā)展。在觀念藝術(shù)發(fā)展過程中，將當(dāng)前藝術(shù)表現(xiàn)形式與藝術(shù)內(nèi)容進(jìn)行整合，不斷推動(dòng)當(dāng)前社會(huì)觀念內(nèi)涵的發(fā)展，其中包括當(dāng)前藝術(shù)自由化思想，其中包括儒家的道德風(fēng)格，通過豐富當(dāng)前觀念藝術(shù)表現(xiàn)形式，提供豐富的藝術(shù)形式，為當(dāng)前各類的發(fā)展提供良好的條件。

1.2 觀念藝術(shù)的內(nèi)涵

根據(jù)當(dāng)前觀念藝術(shù)的發(fā)展，國內(nèi)外學(xué)者對(duì)藝術(shù)的發(fā)展進(jìn)行了深入的探究。觀念藝術(shù)主要指在人們的頭腦中，通過主觀塑造觀念形象，推動(dòng)當(dāng)前藝術(shù)資源的分配。隨著我國觀念藝術(shù)的發(fā)展，不斷促進(jìn)各種觀念的發(fā)展。綜合以往的相關(guān)研究，其內(nèi)涵主要包括以下幾個(gè)方面：

一是創(chuàng)造性；二是豐富性；三是發(fā)展性；四是時(shí)代性；五是共融性。

2 觀念藝術(shù)的發(fā)展背景

隨著觀念藝術(shù)在我國的發(fā)展，一些傳統(tǒng)藝術(shù)形式將會(huì)影響到當(dāng)前觀念藝術(shù)的表達(dá)。根據(jù)我國觀念藝術(shù)發(fā)展趨勢(shì)，我國一些傳統(tǒng)藝術(shù)家通過不斷分化文化資源，推動(dòng)各種觀念藝術(shù)的表達(dá)。在當(dāng)前文化發(fā)展背景下，不斷推動(dòng)文化資源的分享，其中包括文化類型的分類。根據(jù)當(dāng)前藝術(shù)發(fā)展的需求，不斷促進(jìn)社會(huì)藝術(shù)形式的創(chuàng)新，尤其是在當(dāng)前文化態(tài)勢(shì)背景下，通過各種分類方式的完善，促進(jìn)各種觀念的更新。在以前，中國傳統(tǒng)文化還沒有特定的藝術(shù)觀念，尤其受西方文化的影響，包括西方文化中的精髓部分，促進(jìn)中國前衛(wèi)藝術(shù)的發(fā)展，尤其是各種觀念藝術(shù)的深入。總之，隨著當(dāng)前觀念藝術(shù)的發(fā)展，其中包括藝術(shù)觀念的鞏固與藝術(shù)形式的豐富，才能推動(dòng)中國藝術(shù)創(chuàng)新。

3 觀念藝術(shù)的表現(xiàn)形式

由于觀念藝術(shù)比較抽象，在當(dāng)前文化發(fā)展過程中，需要不斷拓展其表現(xiàn)形式，根據(jù)以往的相關(guān)發(fā)展，結(jié)合分類方法的特色，將觀念藝術(shù)的表現(xiàn)形式分為以下三類：一是挪用并列式；二是墓改里換式；三是轉(zhuǎn)化再造式。下面根據(jù)三種表現(xiàn)的具體情況，將其敘述如下：

3.1 挪用并列式

挪用方式是當(dāng)前觀念藝術(shù)中最為直接的表達(dá)形式，通過當(dāng)前的表現(xiàn)形式，促進(jìn)各種方法的改善，豐富當(dāng)前的藝術(shù)內(nèi)涵。杜尚的《泉》開啟了此類方法并被藝術(shù)家們沿用至今。廣義上的“挪用”主要指當(dāng)前觀念的各種表現(xiàn)形式，在觀念藝術(shù)共享過程中，不斷推動(dòng)各種創(chuàng)造活動(dòng)的開展。在當(dāng)前發(fā)展過程中，將“挪用”與“并列”合并，并將其發(fā)展成為一種具體的創(chuàng)作方式?？傊搃阿雷技術(shù)主要通過創(chuàng)新藝術(shù)放置方式，推動(dòng)當(dāng)前藝術(shù)作品、公眾圖像、生活物品、人體的多元加工，促進(jìn)各種藝術(shù)形式的展開，這種表現(xiàn)形式可以包括平面的與立體的，在這種對(duì)比的情況下，不斷增強(qiáng)各種藝術(shù)感染力，促進(jìn)各種對(duì)比方法的改善，而且通過直觀的感受，不斷促進(jìn)藝術(shù)效果展現(xiàn)。尤其在一些藝術(shù)作品中都很好地運(yùn)用了這種方法，其中包括蔡國強(qiáng)的《草船借箭》、《威尼斯收租院》、王晉的《叩門》與張衛(wèi)的一系列中國傳統(tǒng)繪畫經(jīng)典作品與西方現(xiàn)代藝術(shù)大師作品的拼貼視像作品?！恫荽杓酚谜鎸?shí)的船與箭再現(xiàn)了《三國演義》中的虛擬物，通過該類形式不斷推動(dòng)當(dāng)前各種文化關(guān)系的展現(xiàn)，尤其各種視覺上的美感。

3.2 墓改里換式

在當(dāng)前觀念藝術(shù)發(fā)展過程中，不斷融合各種表現(xiàn)形式，其中包括外形上各種變化，包括當(dāng)前資源的共享性，都額可以運(yùn)用改化的方式進(jìn)行展現(xiàn)，這里面包括了顛覆性和調(diào)侃的文化氣息。通過改變當(dāng)前各種快捷的藝術(shù)表現(xiàn)形式，不斷推動(dòng)各種藝術(shù)方式的創(chuàng)新，在當(dāng)前藝術(shù)共享過程中，不斷促進(jìn)各種作品的展現(xiàn)。作品《好》系列、王慶松的作品、黃永林的《沙的銀行或銀行的沙》等都很好地展現(xiàn)了當(dāng)前的藝術(shù)表現(xiàn)形式。同時(shí)根據(jù)當(dāng)前各種創(chuàng)作形式，不斷推動(dòng)當(dāng)前各種觀念的融合，包括各種資源的轉(zhuǎn)化，同時(shí)通過彼此之間的思辨，不斷推動(dòng)當(dāng)前藝術(shù)展現(xiàn)形式，在各種意義表現(xiàn)過程中，不斷融合各種表現(xiàn)工具，在這個(gè)資源共享的背景下，推動(dòng)當(dāng)前各種藝術(shù)魅力的呈現(xiàn)。根據(jù)各種發(fā)展規(guī)劃，最大限度地推動(dòng)了當(dāng)前資源的改善，不斷融合各種表現(xiàn)形式。根據(jù)中國傳統(tǒng)文化發(fā)展的特色，在創(chuàng)意文化中融合當(dāng)前各種時(shí)代元素，推動(dòng)創(chuàng)意文化的發(fā)展，在這個(gè)過程中，通過融合各種文化要素，將創(chuàng)意文化融合到中國傳統(tǒng)文化。

3.3 轉(zhuǎn)化再造式

根據(jù)當(dāng)前文化資源的發(fā)展，在資源利用過程中，不斷發(fā)掘各種創(chuàng)作資源，通過各種資源的共享，推動(dòng)觀念藝術(shù)的發(fā)展。同時(shí)在藝術(shù)觀念共享過程中，不斷完善各種材料。根據(jù)當(dāng)前藝術(shù)發(fā)展的各種趨勢(shì)，通過將傳統(tǒng)資源轉(zhuǎn)化融合當(dāng)前創(chuàng)作之中，推動(dòng)各種藝術(shù)的表現(xiàn)。根據(jù)觀念藝術(shù)發(fā)展特點(diǎn)，不斷完善各種表現(xiàn)形式，有些藝術(shù)的表現(xiàn)，雖然看上去是對(duì)表現(xiàn)的渲染，不斷推動(dòng)其內(nèi)涵的表現(xiàn)，最大限度促進(jìn)觀念藝術(shù)的發(fā)展。根據(jù)當(dāng)前藝術(shù)的創(chuàng)作的，不斷推動(dòng)當(dāng)前資源的改善，提高各種藝術(shù)觀念，在當(dāng)前資源改善過程中，推動(dòng)當(dāng)前該類文化資源的轉(zhuǎn)化形式。的行為、裝置《鬼打墻》、邱志杰的《重復(fù)書寫一千統(tǒng)資源》等均能很好展現(xiàn)當(dāng)前的觀念藝術(shù)。這種藝術(shù)原型主要體現(xiàn)了中國的傳統(tǒng)文化，在當(dāng)前轉(zhuǎn)化過程中，不斷推動(dòng)觀念藝術(shù)的發(fā)展，促進(jìn)各種藝術(shù)形式的融合。同時(shí)，通過不斷促進(jìn)各種文化形式改善，推動(dòng)內(nèi)涵與形式的統(tǒng)一，最大限度地傳播傳統(tǒng)文化。該類藝術(shù)形式能夠很好地展現(xiàn)當(dāng)前觀念藝術(shù)的表現(xiàn)形式，尤其是藝術(shù)的內(nèi)涵的展現(xiàn)。

4 結(jié)語

隨著我國傳統(tǒng)文化資源的開發(fā)，我國藝術(shù)形式也得到了相應(yīng)的發(fā)展，其中包括文化意識(shí)形態(tài)、觀念藝術(shù)作品與潛在文化資源，通^各種經(jīng)典作品的完善，不斷推動(dòng)各種表現(xiàn)方法的改善。同時(shí)，在當(dāng)前前衛(wèi)藝術(shù)發(fā)展過程中，通過不斷運(yùn)用具體的民間藝術(shù)語言、風(fēng)俗習(xí)慣或抽象古代文化意識(shí)形態(tài)等，不斷推動(dòng)當(dāng)前各種藝術(shù)表現(xiàn)形式的發(fā)展，包括各種民主文化，這也是當(dāng)前發(fā)展的關(guān)鍵要素，在中國傳統(tǒng)文化背景基礎(chǔ)上，不斷推動(dòng)觀念藝術(shù)形式的創(chuàng)新，最終不斷推動(dòng)中國文化的發(fā)展。

參考文獻(xiàn)：

[1] 蔣長虹.觀念藝術(shù)的正反經(jīng)驗(yàn)及其對(duì)當(dāng)代文化的影響――試論杜尚精神與當(dāng)代文化[J].天津美術(shù)學(xué)院學(xué)報(bào)，2016（1）：43-45.

[2] 張志偉.真理與境界――從一個(gè)觀念藝術(shù)文本反思兩種藝術(shù)觀念[J].藝術(shù)評(píng)論，2015（12）：45-48.

篇10

一、為什么要在英語專業(yè)教學(xué)中導(dǎo)入文化知識(shí)

要求證為什么在英語專業(yè)教學(xué)中導(dǎo)人文化知識(shí)，首先就要弄清語言與文化之間的關(guān)系。薩丕爾認(rèn)為“語言的背后是有東西的。而且語言不能離開文化而存在”。拉多在《語言教學(xué)：科學(xué)的方法》一書中指出：“我們不掌握文化背景就不可能教好語言。語言是文化的一部分。因此，不懂得文化的模式和準(zhǔn)則，就不可能真正學(xué)到語言”。我國學(xué)者金惠康也曾指出，語言只是冰山一角，隱藏在水下的巨大主體則是文化。語言是文化的載體，語言背后蘊(yùn)含著深厚的文化內(nèi)涵，語言是文化的一種呈現(xiàn)形式。

其次，語言能力不等于交際能力。Byram認(rèn)為，一個(gè)人在習(xí)得語言的同時(shí)也習(xí)得了文化。然而筆者卻不這樣認(rèn)為，因?yàn)閺膶?shí)際情況來看，許多具備了英語語言技能的英語專業(yè)生，仍然會(huì)產(chǎn)生跨文化語用失誤現(xiàn)象，在跨文化交際中無法用英語進(jìn)行得體交流。究其根源，其主要原因之一是缺乏有效的中西文化導(dǎo)入。從高校英語專業(yè)設(shè)置來看，絕大多數(shù)高校都側(cè)重于英語語音、語法、詞匯、寫作等語言知識(shí)的教學(xué)，認(rèn)為學(xué)生只有掌握了聽說讀寫等基本技能才能進(jìn)行很好的跨文化交流，其實(shí)不然。人們走進(jìn)了一個(gè)誤區(qū)，即將語言能力等同于交際能力。

交際能力最早由海姆斯1972年提出，“不僅能使用語法規(guī)則來組成語法正確的句子，而且知道何時(shí)何地想和人使用這些句子的能力”。胡文仲等從理論角度分析了“交際能力”，并認(rèn)為由以下幾個(gè)方面構(gòu)成：其一可能性，即是否符合語法規(guī)則；其二可行性，即某些語言是否以及在多大程度上可以付諸實(shí)踐；其三適宜性，即話語在特定情境以及在多大程度上得體；其四實(shí)施狀況，即話語是否以及在多大程度上付諸實(shí)踐。

再次，我國英語教學(xué)的目的及《大綱》要求。《高等學(xué)校英語專業(yè)英語教學(xué)大綱》對(duì)新世紀(jì)英語人才提出四個(gè)方面的標(biāo)準(zhǔn)，“扎實(shí)的基本功，寬廣的知識(shí)面，一定的相關(guān)專業(yè)知識(shí)，較強(qiáng)的能力和較高的素質(zhì)”。由此可知，我國英語教學(xué)的目標(biāo)已經(jīng)從傳統(tǒng)的單純地注重語言能力擴(kuò)展到交際能力、語用能力，進(jìn)而注重學(xué)習(xí)者跨文化交際能力到跨文化語用能力的培養(yǎng)與提高。

最后，我國英語專業(yè)生現(xiàn)狀及主要問題。筆者通過文獻(xiàn)分析法歸納出了我國英語專業(yè)生現(xiàn)狀及主要問題：

（1）傳統(tǒng)語言教學(xué)不再適應(yīng)潮流，語言教學(xué)應(yīng)與文化教學(xué)相結(jié)合

（2）對(duì)英文化“一邊倒”傾向；

（3）課程設(shè)置不合理。缺乏系統(tǒng)性，支離破碎的文化點(diǎn)。

（4）世界英語：用英語交流時(shí)不要生搬硬套，注意英語非母語國家的背景文化。

（5）中國文化失語癥；

（6）對(duì)母語文化的輕視和對(duì)異文化的崇拜，民族文化身份認(rèn)同危機(jī)。

二、在英語專業(yè)教學(xué)中導(dǎo)入什么樣的文化知識(shí)

在英語專業(yè)教學(xué)中教的應(yīng)該不僅僅是語言知識(shí)而且還應(yīng)包括文化知識(shí)。我國在外語教學(xué)中對(duì)文化教學(xué)內(nèi)容這一部分沒有做出具體的要求。

我國對(duì)外漢語教育界學(xué)者張占一等將文化分為：知識(shí)文化和交際文化。知識(shí)文化是一個(gè)民族的哲學(xué)、歷史、地理、文學(xué)、宗教等因素的綜合。交際文化是隱藏在語言系統(tǒng)之中，反映該民族的價(jià)值觀念、生活方式、行為準(zhǔn)則、風(fēng)俗習(xí)慣等文化因素的總稱。李匯毅曾說過“從培養(yǎng)跨文化或國際交流人才的角度看，英語專業(yè)教育必須重視本土文化教育和英美文化教育……只有將英語和漢語都放在重要的位置上，英語專業(yè)者才可能找回失去的民族身份”。

因此在英語專業(yè)教學(xué)中教的應(yīng)該不僅僅是語言知識(shí)而且還應(yīng)包括文化知識(shí)；不僅僅是學(xué)習(xí)以英語為母語國家的文化知識(shí)，更要學(xué)好中國文化知識(shí)。在學(xué)習(xí)中西方文化知識(shí)時(shí)，我們應(yīng)當(dāng)正確看待歷史文化，各國的風(fēng)俗習(xí)慣等。要避免盲目崇外認(rèn)為“西方的月亮比中國圓”，同時(shí)也要避免盲目自信，防止“文化民族中心主義”。

三、在英語專業(yè)教學(xué)中怎樣導(dǎo)入文化知識(shí)

筆者認(rèn)為在英語專業(yè)教學(xué)中文化知識(shí)導(dǎo)入主要有如下幾種方法：

其一，文化異同對(duì)比法。不同民族之間的文化不同是必然的，而文化在某些方面表現(xiàn)出相同或相似，則是偶然的，這種現(xiàn)象稱為文化的偶合現(xiàn)象。通過專題等形式將中西文化的異同進(jìn)行對(duì)比，有利于學(xué)生同時(shí)掌握兩種語言的同類型文化方面的知識(shí)。

其二，文化知識(shí)整合法。在英語專業(yè)教學(xué)中，教師們或多或少都會(huì)涉及一些中西文化知識(shí)。但在傳授中西文化知識(shí)時(shí)大多是零散的，片段式的。這樣的話，不利于學(xué)生長久記憶，以及對(duì)文化知識(shí)整體性的把握。

其三，引導(dǎo)課外文化自主學(xué)習(xí)法。課堂時(shí)間畢竟是有限的，更多的是課外時(shí)間的把握。教師可以通過引導(dǎo)學(xué)生選擇課外讀物、以及影視資料等了解中西文化知識(shí)、風(fēng)土人情等。在輕松愉快的環(huán)境下，掌握知識(shí)。