The practice of four-character Chinese idioms alteration used in the signboards by substituting character （s） with their homophonous words has grown into a general trend. Fifty-one altered idioms are collected. The ...The practice of four-character Chinese idioms alteration used in the signboards by substituting character （s） with their homophonous words has grown into a general trend. Fifty-one altered idioms are collected. The majority of the modifiers are medium-small store owners. Idiom alteration for specific purpose differs from the idiom misinterpretation. Speedy economic growth and material wealth pursuit social context stimulate the idiom alteration behavior which enforces the pragmatism value orientation. By modifying idioms into four-character structures of strong practical effect, the obvious pragamtic value of the businessmen and of Chinese are manifested. A causal analysis method is used.展开更多
This paper intends to study Ezra Pound＇s early poetics and his modernist poetry through a close research of the various elements in the shaping process of his poetics, and the significance and influence of his poetic...This paper intends to study Ezra Pound＇s early poetics and his modernist poetry through a close research of the various elements in the shaping process of his poetics, and the significance and influence of his poetic thoughts on the American New Poetry Movement. It studies firstly the early translations and romantic lyrics of Pound, trying to demonstrate that part of the influence on his early poetics is from the Western traditional cultural inheritance and that the emphasis on musicality that Pound inherited from traditional forms of poetry turns out to be one of the major principles that Pound advocates in his early poetics; then it comes to the discussion of the new translation concepts and poetics in ＂The Seafarer＂ （1911）, which is a great work Pound translated based on an Old English poem; next this paper will focus on the influence of Robert Browning＇s dramatic monologues and Yeats＇ Symbolism on Pound＇s transition from subjectivity to objectivity.展开更多
In Vietnam, divorce traditionally was considered scandalous for women, so there was a strong pressure against divorce, especially for women. While divorce has long been culturally discouraged and limited, divorce has ...In Vietnam, divorce traditionally was considered scandalous for women, so there was a strong pressure against divorce, especially for women. While divorce has long been culturally discouraged and limited, divorce has been rapidly increasing after the renovation policy in late 1980s with alternative causes, consequences, etc Modernization is a process of transforming ＂traditional＂ society to ＂modern＂ one, in order to achieve economic development and growth, to innovate politics and to enhance their social structure towards a political, social, and economic system similar to those of western developed countries. In the field of marriage, family, and kinship, modernization process experiences the maintenance of traditional values and the appearance of the new modern values. This paper aims to examine trend and correlates of divorce and to identify social and cultural factors influencing the divorce decision, using data of divorce profiles of one district court in 10 years （i.e., 2000-2009） with total divorce profiles analyzed are 2,033 cases, of which 499 divorce couples in a rural district and 1,534 divorced couples in an urban area.展开更多
The novel, Lord of the flies, written by William Golding （1911-1993） who was among the most popular and influential British authors to have emerged after World War II, is permeated with symbolism. His reputation res...The novel, Lord of the flies, written by William Golding （1911-1993） who was among the most popular and influential British authors to have emerged after World War II, is permeated with symbolism. His reputation rested primarily upon his acclaimed first novel. The present paper attempts to examine the theme of Lord of the flies in respects of its counter-tradition treatment of boys, evil actions of innocent boys and its use of symbols and arrives at a tentative conclusion that the combination of the three above-mentioned elements helps the novel to express the theme that evil is human nature.展开更多
Girl Power in Cashore＇s Graceling is the title of this study. This study uses radical feminism as the theory, because the main character, Katsa, is the portrait of radical feminist. Katsa breaks the traditional gende...Girl Power in Cashore＇s Graceling is the title of this study. This study uses radical feminism as the theory, because the main character, Katsa, is the portrait of radical feminist. Katsa breaks the traditional gender roles and patriarchal ideology which dismiss and underestimate women as the inferior and subordinate from men dominance. Katsa as the main character is described as a woman who breaks the traditional gender roles by her extraordinary hobbies and capabilities, such as fighting, and killing. She also portrays radical-libertarian feminist who is showed by her principle and commitment on marriage, those are her refusal on marriage and her objection to have children.展开更多
＂The new academic portrait sculpture＂ is the mainstream style of Chinese contemporary portrait sculpture, it attempts to rethink traditional and contemporary cultural on the basis of the traditional realism College....＂The new academic portrait sculpture＂ is the mainstream style of Chinese contemporary portrait sculpture, it attempts to rethink traditional and contemporary cultural on the basis of the traditional realism College. Perhaps this attempt was coordinated with Chinese traditional ＂ eclectic, absorbing ＂ idea, and soon was unanimously affirmed. Parts of the second generation of sculptors have begun to ＂ adapt to the times,＂ the vast majority of third-generation sculptors completed the transition very quickly, and therefore produced various works, such as Li Xiangqun＇ s ＂Guo Moruo ＂, Jiang Jie ＇ s ＂ classmates series ＂etc.展开更多
Thomas S. Kuhn is one of the leading philosophers and historians of science that investigated in-depth cases of simultaneous discoveries in science. Although his analysis of the discovery of energy conservation and ox...Thomas S. Kuhn is one of the leading philosophers and historians of science that investigated in-depth cases of simultaneous discoveries in science. Although his analysis of the discovery of energy conservation and oxygen did not focus sharply on the priority disputes involved, it is within such contexts that controversy about which scientist was the first to make a discovery takes place. Evidently, Kuhn＇s recourse to historical case studies is a clear departure from the standpoint of traditional mainstream philosophies of science （namely, logical positivism and falsificationism）, which cavalierly dismissed such concerns as irrelevant to philosophical reconstructions of science Challenges to orthodox logistic approaches were prompted by the realisation that the two dominant traditions mentioned above, in their excessive preoccupation with ＂the logical skeleton of science＂, have lost contact with real science. As a contribution to what Michael Polanyi referred to as post-critical philosophy, the present study reanalyses the tension-generating potentials of bipolar values shared by members of scientific communities. It traces the origins of the rebellion against logic-dominated philosophies of science, and identifies different post-positivist approaches that have eme^rged over the years which legitimise broadening the frontiers of the philosophy of science. Consequent upon that, some conflicting values or norms shared by members of scientific communities and how they affect the quest for scientific knowledge are underscored. Using as a case study the acrimonious priority dispute between Isaac Newton and Gottfried Leibniz concerning the discovery of calculus, the paper demonstrates that excessive concern for recognition which sometimes leads to protracted priority disputes tends to bring out the worst kind of behaviours towards colleagues even from the greatest scientists. We submit, by way of conclusion, that despite the heroic （almost god-like） reputation of such scientists, they are human and, therefore, subject to the vicissitudes of emotional turbulence just like everyone else.展开更多
In face to the phenomenon of program, indifference and lack of emotion in furniture design. In this paper, through the analysis of various factors that trigger users＇ emotional experience, research the specific point...In face to the phenomenon of program, indifference and lack of emotion in furniture design. In this paper, through the analysis of various factors that trigger users＇ emotional experience, research the specific point of the emotional design classification. According to the furniture design propose the traditional furniture design creative model and design method for the modem life. From the perspective of the specific case, gives the detailed process of modem furniture design and implementation methods, for obtain the results of outstanding design put forward specific ways.展开更多
Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn...Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn experience from it. There are four dimensions of learning. First, we should seek the origin of methods from Marxism. Second, the study should deeply rooted in Chinese traditional culture. Third, we should refer to ancient and modem Western aesthetic theories. Last but not the least, all the scholars should be encouraged to express their views freely and equally. The four dimensions, which plays an important role in constructing China＇s modem discourse of aesthetics, derived from the conclusion and experience of China＇s modem aesthetic development in 20th century.展开更多
With advancing channels of communication easing the availability of technological tools, the young minds of women in the Arabian Peninsula are ready to adopt forthcoming challenges. The embrace of storytelling in the ...With advancing channels of communication easing the availability of technological tools, the young minds of women in the Arabian Peninsula are ready to adopt forthcoming challenges. The embrace of storytelling in the digital realm by these young minds reflects the interplay of traditional culture, western modernism, and changes brought about by media industries. These women have adopted and used new media as a vehicle to maneuver their interesting and fresh ideas and have seen the rectilinear screen of a computer as an exit through which to come out and say something to the masses. The thinking methodology has culminated in pragmatic and dynamic visuals in order to celebrate, inform, and create awareness about the issues that they see in the region and among the people. With this freedom of expression, they are creating a new visual culture and transforming themselves into a meaningful workforce. With emerging technological tools, they blend intuitive, pragmatic, emotional, and contextual imagination with a highly-sophisticated production pipeline in order to incorporate the challenges of synthesizing ＂dialect＂ and ＂codes＂ that have traditionally been segregated in the culture. Their work is an amalgamation of arts/design, animation, life footage, and meaningful communication. With cyclical evaluation, they entwine the two elements, creativity, and technicality with massive exposure of Digital Assists Management （DAM）. This paper explains how current technological tools and contextualized teaching instructions foster meaningful content with the elicitation and mergence of Arab anthropological characteristics.展开更多
In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese dia...In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving a...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.展开更多
Nigerian literatures contain history in the oral tradition and folklore like satire, proverbs, chants, symbolism etc. in the pre-literate period, Nigeria enjoyed high level of verbal art civilization which traditional...Nigerian literatures contain history in the oral tradition and folklore like satire, proverbs, chants, symbolism etc. in the pre-literate period, Nigeria enjoyed high level of verbal art civilization which traditional rulers and the generality of the populace patronized. The oral tradition served as medium of preservation of culture and history of the ancient past and experiences. Though, most Nigerians can still remember their family history, folklore, tradition and genealogy, only few oral artists and youths of nowadays possess the skill and ability needed to chant the lengthy oral literature. It is in the light of the above that this study examined the effect of oral tradition, folklore, and history on the development of education in Nigeria, 1977 till date. The study adopted historical research method using primary and secondary sources of information to analyze data. Primary sources include, like archive materials, oral interviews and secondary sources include, like textbooks, speeches, journals, and internet materials and images. The outlines of the paper are： the definition of concepts, historical background of Nigerian oral tradition, and folklore in the educational system, the place of oral tradition, folklore and history in the education policy in Nigeria since 1977, the effect of oral tradition, folklore and history on the development of education in Nigeria since 1977, the prospects of oral traditions, folklore and history on the development of education in Nigeria, conclusion and a few recommendations for future improvement. The findings of the study revealed that oral traditions, folklore and history were the bed-rock for the development of education and society in the pre-colonial period, but these were dropped gradually with the advent of the colonial masters and gradually deteriorate both in the educational curriculum and general conduct of the society and these have adverse effect on the nation＇s economy. It is recommended that the beauty of Nigerian history, oral and written traditions, culture, folklore like proverbs, chants, satire and symbolism, be brought back into the school system, politics and every sector of the Nigerian economy for proper advancement to take place in the education sector and for overall national development.展开更多
Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions sh...Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions she poses about African American realities in the contemporary United States. In doing so, Morrison often creates alternative histories or, more specifically, a usable past----one that allows her to engage in a literary （re-）construction of the Black historical and cultural material which traditional histories have chosen to ignore or disremember. Therefore, as a present-day writer of African American descent, Morrison attempts to reassemble all the fragmentary historical and cultural accounts available to her as a novelist and narrate them in the form of a convincing story. With regard to the above considerations, this article seeks to discuss some of the mechanisms employed by Morrison for weaving her postmodern, memory-filled narrative on the example of her eighth novel, Love （2003）. In particular, the analysis focuses on the book＇s central figure, Bill Cosey, and his Southern ocean-side resort--both seen against the backdrop of the pre- and post-World War II racist America, followed by the 1960s decade of the Civil Rights Movement. Finally, it is also demonstrated how the author＇s use of split narrative as well as the ＂I＂ narrator-cum-character technique contribute to recounting in retrospect Love＇s main, historicized story---one viewed and judged from a present-time perspective.展开更多
Greek classics, Homer, and the Greek tragedians, supposed to be the cornerstone of Western civilization, have long suffered from a stagnant and formalistic institutional approach. On the other hand, the adaptations, t...Greek classics, Homer, and the Greek tragedians, supposed to be the cornerstone of Western civilization, have long suffered from a stagnant and formalistic institutional approach. On the other hand, the adaptations, the transcriptions, or the transubstantiations of the Greek antiquity material into new stories and formats compose an abundant cultural field. Antiquity is diffused in a variety of texts, among comics as well. In this paper, we revise the comic books adaptations dealing with ancient Greek classics and classify them according to ＂the fidelity criterion-dilemma＂, to the kind of reader they imply and to the extent of authorial mastery they impose. When classics and comics collide, they create unexpected variations of the ancient material, reflecting the receiving culture＇s practices and beliefs.展开更多
Over the last 30 years, environmental philosophers and ecological researchers have turned their attention to the possibilities of narratives： the stories people tell about their lives in conjunction with the human an...Over the last 30 years, environmental philosophers and ecological researchers have turned their attention to the possibilities of narratives： the stories people tell about their lives in conjunction with the human and non-human agents they live with. An interest in narrative environmental ethics reflects a re-evaluation of canonical ecophilosophical texts. Works such as Paul W. Taylor＇s Respect for Nature suggest an essentialist view of environmental ethics in which predetermined principles are imposed on places and situations. On the other hand, Aldo Leopold＇s A Sand County Almanac combines first-person prose with science-based explanations of the ＂biotic pyramid＂ towards the development of a land ethic. Examples, such as Leopold＇s, of narrative ethics are thought to offer relational, place-based, non-authoritative, and non-anthropocentric models. This article examines three critical components of environmental narratives： self, context, and tradition. In order for environmental narratives to advance ecological ethics, they must be accompanied by the tradition of natural science （geology, ecology, and evolution） to provide the ＂sponsoring ground＂ for ethical concern and action. The role of natural science as a tradition--and indeed one of many--in narrative ethics provides the basis for ecological selfhood in the context of place. These assertions will be supported by an analysis of the environmental narratives of Karen Warren and Jim Cheney. However, in the temporally expansive and ecologically conscious poetic narratives of John Kinsella we find an environmental ethics deeply rooted in the material realities of place.展开更多
Bringing the aspect of ＂gender＂ into translation studies, feminism gave fresh impetus to the ＂Cultural Turn＂ for translation studies in 1990s. Feminist translation theory puts forward its viewpoints on the role of...Bringing the aspect of ＂gender＂ into translation studies, feminism gave fresh impetus to the ＂Cultural Turn＂ for translation studies in 1990s. Feminist translation theory puts forward its viewpoints on the role of gender and approves of translators＇ gender role in the interpretation of the original text. It seems that gender is of no more importance than other factors, such as nationality, class, and ideology of translators. Translation and women have been long associated with each other for they both occupy peripheral positions. The conventional view holding sway is that a translation is considered a secondary work dependent on, and subservient to, the original text, just as women are assigned dependent functions under patriarchal power. Unsatisfied with the notion that translator, translation and women are all relegated to the inferior class, feminist translators do their utmost to cast away the conventional sexism ideas in translation studies and social ideology. The core of feminist translation theory is： ＂identify and critique the tangle of concepts which relegates both women and translation to the bottom of the social and literary ladder＂ （Simon 1996：1）. In order to realize the dream to overthrow patriarchal domination and make themselves visible, feminist translators seek to emphasize their identity and ideological stance in the translation project. Feminist translators are no longer invisible. They have the right to revise, manipulate and occupy the source text. Feminist translation is nothing but the translators＇ creative treason from the perspective of feminism. The thesis first systematically summarizes the present feminist translation theories, followed by a detailed analysis of some gender-related translation issues, especially the relationship between language and gender. After the analysis of some cases from the feminist translators, different translation approaches adopted are explored to show the peculiar characteristics of feminist translation.展开更多
The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focuse...The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focused his attention to the return to painting as a reference framework of myth and religion. But this return was only a turning point towards a modern understanding of the world and art from other sources. It should be noted that the problem of pictorial turn nowadays has a strong impact on the postmodern theology, which encompasses various cultural traditions, and also quite opposite philosophical attitudes. The article shows, thus, the inner relationship and connection between painting art and the search for transgression in the language that was the idea of Bataille. In the first part of this article, author tries to show the consequences of Bataille’s thinking of transgression; the second part has attempted to articulate the problems of interpretation of Picasso’s canvas Crucifixion; and concluding remarks is an attempt to review the emphasis on relationship with pictorial turn and transformations in the notion of contemporary art concerning the body as a sovereign event of the freedom and sacrifice.展开更多
文摘The practice of four-character Chinese idioms alteration used in the signboards by substituting character （s） with their homophonous words has grown into a general trend. Fifty-one altered idioms are collected. The majority of the modifiers are medium-small store owners. Idiom alteration for specific purpose differs from the idiom misinterpretation. Speedy economic growth and material wealth pursuit social context stimulate the idiom alteration behavior which enforces the pragmatism value orientation. By modifying idioms into four-character structures of strong practical effect, the obvious pragamtic value of the businessmen and of Chinese are manifested. A causal analysis method is used.
文摘This paper intends to study Ezra Pound＇s early poetics and his modernist poetry through a close research of the various elements in the shaping process of his poetics, and the significance and influence of his poetic thoughts on the American New Poetry Movement. It studies firstly the early translations and romantic lyrics of Pound, trying to demonstrate that part of the influence on his early poetics is from the Western traditional cultural inheritance and that the emphasis on musicality that Pound inherited from traditional forms of poetry turns out to be one of the major principles that Pound advocates in his early poetics; then it comes to the discussion of the new translation concepts and poetics in ＂The Seafarer＂ （1911）, which is a great work Pound translated based on an Old English poem; next this paper will focus on the influence of Robert Browning＇s dramatic monologues and Yeats＇ Symbolism on Pound＇s transition from subjectivity to objectivity.
文摘In Vietnam, divorce traditionally was considered scandalous for women, so there was a strong pressure against divorce, especially for women. While divorce has long been culturally discouraged and limited, divorce has been rapidly increasing after the renovation policy in late 1980s with alternative causes, consequences, etc Modernization is a process of transforming ＂traditional＂ society to ＂modern＂ one, in order to achieve economic development and growth, to innovate politics and to enhance their social structure towards a political, social, and economic system similar to those of western developed countries. In the field of marriage, family, and kinship, modernization process experiences the maintenance of traditional values and the appearance of the new modern values. This paper aims to examine trend and correlates of divorce and to identify social and cultural factors influencing the divorce decision, using data of divorce profiles of one district court in 10 years （i.e., 2000-2009） with total divorce profiles analyzed are 2,033 cases, of which 499 divorce couples in a rural district and 1,534 divorced couples in an urban area.
文摘The novel, Lord of the flies, written by William Golding （1911-1993） who was among the most popular and influential British authors to have emerged after World War II, is permeated with symbolism. His reputation rested primarily upon his acclaimed first novel. The present paper attempts to examine the theme of Lord of the flies in respects of its counter-tradition treatment of boys, evil actions of innocent boys and its use of symbols and arrives at a tentative conclusion that the combination of the three above-mentioned elements helps the novel to express the theme that evil is human nature.
文摘Girl Power in Cashore＇s Graceling is the title of this study. This study uses radical feminism as the theory, because the main character, Katsa, is the portrait of radical feminist. Katsa breaks the traditional gender roles and patriarchal ideology which dismiss and underestimate women as the inferior and subordinate from men dominance. Katsa as the main character is described as a woman who breaks the traditional gender roles by her extraordinary hobbies and capabilities, such as fighting, and killing. She also portrays radical-libertarian feminist who is showed by her principle and commitment on marriage, those are her refusal on marriage and her objection to have children.
文摘＂The new academic portrait sculpture＂ is the mainstream style of Chinese contemporary portrait sculpture, it attempts to rethink traditional and contemporary cultural on the basis of the traditional realism College. Perhaps this attempt was coordinated with Chinese traditional ＂ eclectic, absorbing ＂ idea, and soon was unanimously affirmed. Parts of the second generation of sculptors have begun to ＂ adapt to the times,＂ the vast majority of third-generation sculptors completed the transition very quickly, and therefore produced various works, such as Li Xiangqun＇ s ＂Guo Moruo ＂, Jiang Jie ＇ s ＂ classmates series ＂etc.
文摘Thomas S. Kuhn is one of the leading philosophers and historians of science that investigated in-depth cases of simultaneous discoveries in science. Although his analysis of the discovery of energy conservation and oxygen did not focus sharply on the priority disputes involved, it is within such contexts that controversy about which scientist was the first to make a discovery takes place. Evidently, Kuhn＇s recourse to historical case studies is a clear departure from the standpoint of traditional mainstream philosophies of science （namely, logical positivism and falsificationism）, which cavalierly dismissed such concerns as irrelevant to philosophical reconstructions of science Challenges to orthodox logistic approaches were prompted by the realisation that the two dominant traditions mentioned above, in their excessive preoccupation with ＂the logical skeleton of science＂, have lost contact with real science. As a contribution to what Michael Polanyi referred to as post-critical philosophy, the present study reanalyses the tension-generating potentials of bipolar values shared by members of scientific communities. It traces the origins of the rebellion against logic-dominated philosophies of science, and identifies different post-positivist approaches that have eme^rged over the years which legitimise broadening the frontiers of the philosophy of science. Consequent upon that, some conflicting values or norms shared by members of scientific communities and how they affect the quest for scientific knowledge are underscored. Using as a case study the acrimonious priority dispute between Isaac Newton and Gottfried Leibniz concerning the discovery of calculus, the paper demonstrates that excessive concern for recognition which sometimes leads to protracted priority disputes tends to bring out the worst kind of behaviours towards colleagues even from the greatest scientists. We submit, by way of conclusion, that despite the heroic （almost god-like） reputation of such scientists, they are human and, therefore, subject to the vicissitudes of emotional turbulence just like everyone else.
文摘In face to the phenomenon of program, indifference and lack of emotion in furniture design. In this paper, through the analysis of various factors that trigger users＇ emotional experience, research the specific point of the emotional design classification. According to the furniture design propose the traditional furniture design creative model and design method for the modem life. From the perspective of the specific case, gives the detailed process of modem furniture design and implementation methods, for obtain the results of outstanding design put forward specific ways.
基金This essay is the initial result of ＂The study on the basic issues and critical pattern in contemporary aesthetics＂, a major project supported by National Social Science Foundation （Project Number：15ZDB023） ＂The study on the contemporary wester neural aesthetics＇ impact on the development of aesthetics in China＂, a normal project supported by National Social Science Foundation （Project Number：15BZW022） ＂Gorz ecological Marxist theory＇s implications for contemporary China＂, a project entrusted by Central Compilation ＆ Translation Bureau （Project Number： 15QWT26）.
文摘Contemporary Chinese scholars proposed that China should construct modem Chinese aesthetic discourse system, therefore, we should attach great importance to China＇s own aesthetic development in 20th century and learn experience from it. There are four dimensions of learning. First, we should seek the origin of methods from Marxism. Second, the study should deeply rooted in Chinese traditional culture. Third, we should refer to ancient and modem Western aesthetic theories. Last but not the least, all the scholars should be encouraged to express their views freely and equally. The four dimensions, which plays an important role in constructing China＇s modem discourse of aesthetics, derived from the conclusion and experience of China＇s modem aesthetic development in 20th century.
文摘With advancing channels of communication easing the availability of technological tools, the young minds of women in the Arabian Peninsula are ready to adopt forthcoming challenges. The embrace of storytelling in the digital realm by these young minds reflects the interplay of traditional culture, western modernism, and changes brought about by media industries. These women have adopted and used new media as a vehicle to maneuver their interesting and fresh ideas and have seen the rectilinear screen of a computer as an exit through which to come out and say something to the masses. The thinking methodology has culminated in pragmatic and dynamic visuals in order to celebrate, inform, and create awareness about the issues that they see in the region and among the people. With this freedom of expression, they are creating a new visual culture and transforming themselves into a meaningful workforce. With emerging technological tools, they blend intuitive, pragmatic, emotional, and contextual imagination with a highly-sophisticated production pipeline in order to incorporate the challenges of synthesizing ＂dialect＂ and ＂codes＂ that have traditionally been segregated in the culture. Their work is an amalgamation of arts/design, animation, life footage, and meaningful communication. With cyclical evaluation, they entwine the two elements, creativity, and technicality with massive exposure of Digital Assists Management （DAM）. This paper explains how current technological tools and contextualized teaching instructions foster meaningful content with the elicitation and mergence of Arab anthropological characteristics.
文摘In recent decades, a new type of cultural upsurge surrounding kunqu1 has arisen in Chinese language sphere, though respectively due to different reasons in China's Mainland, Hong Kong, Taiwan and other Chinese diaspora. Against the global trend of culture heritage nationalization context, via the new media platform, the performative staging of individual emotions and reverie in the market society2, the longings to redeem various alienation in a vertical modernity3, as well as the yearnings for emotional balance in a burgeoning feministic modernity, all integrate with each other and together generate a restless transforming memory for kunqu. Just like a misty veil, this complex, contentious, contradictory and long-lasting collective memory-making process blurs kunqu＇s appearance, expands its layers, and ultimately generates a cultural myth. With detailed case studies this paper aims to reflect upon the deep reasons for the kunqu myth and to probe the transformative powers of a performative space in enabling remembrance and/or forgetting.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.
文摘Nigerian literatures contain history in the oral tradition and folklore like satire, proverbs, chants, symbolism etc. in the pre-literate period, Nigeria enjoyed high level of verbal art civilization which traditional rulers and the generality of the populace patronized. The oral tradition served as medium of preservation of culture and history of the ancient past and experiences. Though, most Nigerians can still remember their family history, folklore, tradition and genealogy, only few oral artists and youths of nowadays possess the skill and ability needed to chant the lengthy oral literature. It is in the light of the above that this study examined the effect of oral tradition, folklore, and history on the development of education in Nigeria, 1977 till date. The study adopted historical research method using primary and secondary sources of information to analyze data. Primary sources include, like archive materials, oral interviews and secondary sources include, like textbooks, speeches, journals, and internet materials and images. The outlines of the paper are： the definition of concepts, historical background of Nigerian oral tradition, and folklore in the educational system, the place of oral tradition, folklore and history in the education policy in Nigeria since 1977, the effect of oral tradition, folklore and history on the development of education in Nigeria since 1977, the prospects of oral traditions, folklore and history on the development of education in Nigeria, conclusion and a few recommendations for future improvement. The findings of the study revealed that oral traditions, folklore and history were the bed-rock for the development of education and society in the pre-colonial period, but these were dropped gradually with the advent of the colonial masters and gradually deteriorate both in the educational curriculum and general conduct of the society and these have adverse effect on the nation＇s economy. It is recommended that the beauty of Nigerian history, oral and written traditions, culture, folklore like proverbs, chants, satire and symbolism, be brought back into the school system, politics and every sector of the Nigerian economy for proper advancement to take place in the education sector and for overall national development.
文摘Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions she poses about African American realities in the contemporary United States. In doing so, Morrison often creates alternative histories or, more specifically, a usable past----one that allows her to engage in a literary （re-）construction of the Black historical and cultural material which traditional histories have chosen to ignore or disremember. Therefore, as a present-day writer of African American descent, Morrison attempts to reassemble all the fragmentary historical and cultural accounts available to her as a novelist and narrate them in the form of a convincing story. With regard to the above considerations, this article seeks to discuss some of the mechanisms employed by Morrison for weaving her postmodern, memory-filled narrative on the example of her eighth novel, Love （2003）. In particular, the analysis focuses on the book＇s central figure, Bill Cosey, and his Southern ocean-side resort--both seen against the backdrop of the pre- and post-World War II racist America, followed by the 1960s decade of the Civil Rights Movement. Finally, it is also demonstrated how the author＇s use of split narrative as well as the ＂I＂ narrator-cum-character technique contribute to recounting in retrospect Love＇s main, historicized story---one viewed and judged from a present-time perspective.
文摘Greek classics, Homer, and the Greek tragedians, supposed to be the cornerstone of Western civilization, have long suffered from a stagnant and formalistic institutional approach. On the other hand, the adaptations, the transcriptions, or the transubstantiations of the Greek antiquity material into new stories and formats compose an abundant cultural field. Antiquity is diffused in a variety of texts, among comics as well. In this paper, we revise the comic books adaptations dealing with ancient Greek classics and classify them according to ＂the fidelity criterion-dilemma＂, to the kind of reader they imply and to the extent of authorial mastery they impose. When classics and comics collide, they create unexpected variations of the ancient material, reflecting the receiving culture＇s practices and beliefs.
文摘Over the last 30 years, environmental philosophers and ecological researchers have turned their attention to the possibilities of narratives： the stories people tell about their lives in conjunction with the human and non-human agents they live with. An interest in narrative environmental ethics reflects a re-evaluation of canonical ecophilosophical texts. Works such as Paul W. Taylor＇s Respect for Nature suggest an essentialist view of environmental ethics in which predetermined principles are imposed on places and situations. On the other hand, Aldo Leopold＇s A Sand County Almanac combines first-person prose with science-based explanations of the ＂biotic pyramid＂ towards the development of a land ethic. Examples, such as Leopold＇s, of narrative ethics are thought to offer relational, place-based, non-authoritative, and non-anthropocentric models. This article examines three critical components of environmental narratives： self, context, and tradition. In order for environmental narratives to advance ecological ethics, they must be accompanied by the tradition of natural science （geology, ecology, and evolution） to provide the ＂sponsoring ground＂ for ethical concern and action. The role of natural science as a tradition--and indeed one of many--in narrative ethics provides the basis for ecological selfhood in the context of place. These assertions will be supported by an analysis of the environmental narratives of Karen Warren and Jim Cheney. However, in the temporally expansive and ecologically conscious poetic narratives of John Kinsella we find an environmental ethics deeply rooted in the material realities of place.
文摘Bringing the aspect of ＂gender＂ into translation studies, feminism gave fresh impetus to the ＂Cultural Turn＂ for translation studies in 1990s. Feminist translation theory puts forward its viewpoints on the role of gender and approves of translators＇ gender role in the interpretation of the original text. It seems that gender is of no more importance than other factors, such as nationality, class, and ideology of translators. Translation and women have been long associated with each other for they both occupy peripheral positions. The conventional view holding sway is that a translation is considered a secondary work dependent on, and subservient to, the original text, just as women are assigned dependent functions under patriarchal power. Unsatisfied with the notion that translator, translation and women are all relegated to the inferior class, feminist translators do their utmost to cast away the conventional sexism ideas in translation studies and social ideology. The core of feminist translation theory is： ＂identify and critique the tangle of concepts which relegates both women and translation to the bottom of the social and literary ladder＂ （Simon 1996：1）. In order to realize the dream to overthrow patriarchal domination and make themselves visible, feminist translators seek to emphasize their identity and ideological stance in the translation project. Feminist translators are no longer invisible. They have the right to revise, manipulate and occupy the source text. Feminist translation is nothing but the translators＇ creative treason from the perspective of feminism. The thesis first systematically summarizes the present feminist translation theories, followed by a detailed analysis of some gender-related translation issues, especially the relationship between language and gender. After the analysis of some cases from the feminist translators, different translation approaches adopted are explored to show the peculiar characteristics of feminist translation.
文摘The article deals with the question of the possibility of a new interpretation of Picasso’s picture entitled Crucifixion, which was created in the context of the art paradigm shift in the 1930s when the master focused his attention to the return to painting as a reference framework of myth and religion. But this return was only a turning point towards a modern understanding of the world and art from other sources. It should be noted that the problem of pictorial turn nowadays has a strong impact on the postmodern theology, which encompasses various cultural traditions, and also quite opposite philosophical attitudes. The article shows, thus, the inner relationship and connection between painting art and the search for transgression in the language that was the idea of Bataille. In the first part of this article, author tries to show the consequences of Bataille’s thinking of transgression; the second part has attempted to articulate the problems of interpretation of Picasso’s canvas Crucifixion; and concluding remarks is an attempt to review the emphasis on relationship with pictorial turn and transformations in the notion of contemporary art concerning the body as a sovereign event of the freedom and sacrifice.
