Metropolitan Emblems or Symbols in Globalization？ Both for the Future of Metropolises and Their Citizens

This research concerns on ＂metropolis and metropolisation＂： what is new with the symbols of city local life and the emblems of global competition？ From New York, Rome, Barcelone, Paris and Bordeaux, the same question demands specific answers： can we live and appreciate urban and metropolitan symbols and emblems together or on their own？ That is the question for towns and the future of their citizens. Confrontation of urban sites and observed places with the plural points of view of their establishment, their designers and urban skills, and their inhabitants and citizens. The combination of these several points of view always make a richer discovery than their disciplinary partition and monopoly.

Astana＇s Evolution From the Outskirts to the Capital： Name, Emblem, and Territorial Settlement

This article is a research into the history of our town, several times changing its status on its nearly 80-year record. We trace its gradual evolvement from a backwater town into a 21th century capital to piece the picture of our town together from separate puzzles in names and events. The history of our town with its colonial, soviet and post-soviet periods is impetuously losing its two original contexts. The new city was not built anew, from scratch, but was further constructed, extended and novelized. However the first two periods are effaced and pushed to the background, becoming an apophasis. The questions to puzzle out are： Why the town was renamed so many times into Akmolinsk, Tselinograd, Akmola, and Astana; why it had a few emblems on its record; and from which year starts settlement of the territory this modern city currently takes up. Then comes another moot point： How many times was our town＇s status put to question？ Of special interest is street renaming and monuments＇ relocation and the town＇s demographic constituent is no less a serious subject of research. Our town formed through permanent movement of the rural population to it, which concurred with the governmental campaigns in the epoch in question. Urban environment certainly told on inter-relations, and brought about problems. One of them is the problem of tolerance, inevitably arising in any big city. The problem of misunderstanding between the residents of former Tselinograd and present Astana is generation gap. For permanent population＇s rotation practically no urban life traditions have taken on a definite shape among majority of the residents, paradoxical as it is. The population＇s intent to cast off all the colonial and soviet past ended in the loss of representative opportunities of the ＂old＂ town.

Analysing Shakespeare＇s Emblem Language in Midsummer Night＇s Dream

Shakespeare has been studied from many perspectives so far. However, his language style used in his literary works is still worth studying. First of all, this study explores changing sense of emblem and emblem language comparing Shakespeare＇s era and today. Secondly, it puts stress on the effects of emblem traditions on Shakespeare. Lastly, this article aims to shed light on his emblematical language in his Midsummer Night＇s Dream, which is one of his most leading works in terms of having highly visible emblematical interpretations.

Meaning Construction of 2019 Beijing International Horticultural Exposition Emblem from the Perspective of Multimodal Discourse Analysis

The multimodal discourse has been playing a significant role in modern society since its springing-up from the 1990s.Based on the theoretical framework of Visual Grammar(VG)put forward by Kress&van Leeuwen(1996),this study,from the per⁃spective of multimodal discourse analysis,aims at exploring the meaning construction in the emblem of 2019 Beijing International Horticultural Exposition.It is found that an emblem can be interpreted with other modes such as visual image,color and pattern de⁃sign apart from verbal language,which will not only work to participate in the overall meaning construction with mutual interaction,but also analyze how sociocultural background,local customs and humanity spirit are reflected through these forms.

Guido Reni’s Infant Bacchus: “In vino veritas”

This article delves into the significance of Guido Reni’s Infant Bacchus,created during the Italian Baroque period.By examining historical and iconographic elements,the study aims to interpret the symbolism depicted in the painting.The historical aspects include the birth of Dionysus or Bacchus in classical and Italian Renaissance imagery and literary and visual sources that influenced Reni’s solo painting.The iconographic components encompass the infant’s nude body,the child’s bodily functions,and the attributes associated with Bacchus,the God of Agriculture,Revelry,and Wine,such as the grapevines,grapes,ivy,glass flask,kantharos(wine cup),and wine barrel.The emblematic and cosmological associations of Bacchus’s divinity are considered as well.

Giorgio Vasari’s A Bride with a Rake:A Mythological Pun

Giorgio Vasari’s educational background and association with Renaissance humanists engendered his familiarity with the texts and imagery of classical,emblematic,and mythographic traditions.Vasari’s composition of images as a compendium of iconography for a decorative program was in the vein of the literary practices of Andrea Alciato(1482-1550),Pierio Valeriano(1477-1558),and Vincenzo Cartari(1531-1590),and followed Paolo Giovio’s advice on how to depict an emblematic image or impresa1(Giovio,1559,p.9).For Giovio(1483-1552),an impresa or badge must contain a figure and motto,its meaning should be clear and precise,the imagery must be pleasant to look at,and the motto must be brief,inventive,and unambiguous.But sometimes Vasari did not follow his advice,relying more on the Renaissance Neoplatonic notion of a concept postulated by the Florentine philosopher Marsilio Ficino(1433-1499).In De vita coelitus comparanda(How Life Should Be Arranged According to the Heavens)2(Ficino,1489;1561-1563;1996,pp.7-19;Kerrigan&Braden,1989,pp.101-115).Ficino discusses the use and the magic potency of images by deliberating on the virtue of imagery,what power pertains to the figure in the Heavens and on Earth,which of the heavenly configurations are impressed on images by the ancients,and how the images are employed in antiquity3(Gombrich,1972,p.172;Chastel,1996,pp.81-89;Moore,1990,p.20,137,181;Bull,2006,pp.7-36).Vasari assimilated these concepts visually in the fresco painting of the Bride with a Rake(1548),located in one of the rooms in his house in Arezzo,the Chamber of Fortune(Chamber of Virtue),where he composed a paradoxical iconographic image-the subject of this essay.This essay is composed of two parts:an introduction to the location of the painting in the Casa Vasari in Arezzo and an iconographical and iconological interpretation of the imagery.

Tourism Image Plan for Wunvfeng National Forest Park

After the introduction of tourist resources in Wunvfeng National Forest Park, the paper had planed its overall image from the perspectives of concept design, visual identity, behavioral norms and audio identity. The slogan of Wunvfeng National Forest Park had been identified as "tour of nature and mythology-Wunvfeng", and the park's emblem, symbolic mascots, spokesman of tourism image and tourist souvenirs had been set, so as to better display tourist advantages of Wunvfeng National Forest Park and create more economic and social benefits.

The Symbolism of the Skull in Vanitas： Homo Bulla Est

In Dutch vanitas imagery of Homo bulla est there is a sad child （homo） holding a scalloped shell filled with soap and water. Although the child is amused and playing with the formation of beautiful transparent water circles, his expression is mischievous and melancholic. Blooming flowers and dead trees, burning urns, and cloudy landscapes also accompany this gloomy imagery, which alludes to a warning about moral behavior. The first part of this essay deals with a brief history about the symbolism of the skull in vanitas imagery （1590-1630）. And the second part of the essay focuses on two prints by the Dutch artist and printmaker from Haarlem, Hendrick Goltzius （1558-1617）, who honored this proverb Homo bulla est in Allegory of Transience as a remembrance of the brevity of life.

Giorgio Vasari’s Fiery Putto:Artistic Armorial

Giorgio Vasari(1511-74)as an artist and art historian of Italian Mannerism viewed himself as huomo buono et docto in buon letter(a fine and learned man).1 In choosing to practice various arts such as writing treatises,collecting drawings,painting decorative cycles,designing buildings,and decorating facades,Vasari was viewed by humanists as a virtuoso.This Tuscan painter,architect,art collector,writer,and art historian is best known for his Vite de’piùeccellenti architetti,pittori e scultori italiani,da Cimabue insino a’tempi nostri(Lives of the Most Excellent Architects,Painters and Sculptors of Italy,from Cimabue to the present time),which was first published in 1550,followed by an enlarged edition illustrated with woodcuts of artists’portraits in 1568.2 In 1960,Einar Rud(1892-1980),a Danish biographer and a scholar of Vasari,characterized him as the first art historian.3 By virtue of Rud’s text,Vasari is known as“the first art historian”-in particular,of Italian art-since Pliny the Elder wrote Book 35 on the History of Art in Ancient times in the Natural History,published posthumously in 79 CE.4 It is almost impossible to imagine the history of Italian art without Vasari,so fundamental is his Vite(Lives).This sixteenth-century Italian work is the first real and autonomous history of art because of its monumental encompassing of all of the following:(1)preambles for explanatory data on the function of the text;(2)integration of individual biographies(with anecdotal,gossipy,and amusing commentaries);(3)theory of art with articulations about artistic creativity and intentionality;and(4)inclusion of explanations of the function and types of artistic materials as well as their applications and techniques necessary for the productivity of art forms(that is,a formation of an instruction manual for artists and the manual’s application to material culture in the sixteenth century).In his coat of arms,Vasari visualized these creative activities and honored his Aretine artistic ancestry(Figure 1).This study consists of four parts:(1)a brief history of Vasari’s family;(2)a brief discussion of Vasari’s homes,Case Vasari;(3)a discussion on the location of his coat of arms(stemma)in the Case Vasari;and(4)and an interpretation of the meaning of Vasari’s coat of arms in his Aretine home.

Camillo Camilli＇s Imprese for the Academies

This study examines the humanistic influence of ancient and Renaissance art in Camillo Camilli＇s Imprese of 1586. Camillo Camilli （ca. 1560-1615--his exact birth date is unknown） was an Italian poet of the sixteenth-century. His family came from Monte San Savino, Siena, and records mention that he died on July 13, 1615, in Ragusa. While personal documentation on Camilli＇s life is scarce there are substantial sources about his literary career as a translator, compiler and poet. Camilli wrote extensively. There are the five canti on Erminia e Tancredi which were collated with Tarquo Tasso＇s （1544-1595） unfinished poems, and his commentaries for Ludovico Ariosto＇s Orlando Furioso in 1584 and for Tasso＇s Gerusalemme Liberata in 1585. Under the influence of Tasso＇s writings and his involvement in the commentary of Gerusalemme Liberata （1585）, Camilli started formulating his concetto （conceit） of what an impresa is （badge, device or insignia）. The focus of this essay is on Camilli＇s Imprese for the Academies. The whole collection of the lmprese consists of three volumes. The frontispiece to each volume depicts three different stage settings filled with classical ornamentation and bearing in the center of the lintel the impresa or insignia of Francesco Ziletti＇s printing company--a starfish surrounded by stars and bound by a ribbon. Camilli selected this image to announce through the imprese the significance of these famous men （uominifamosi） of the academy, granting them immortality and honor for their cultural and intellectual accomplishments.

A Unique and Vivid Way to Oral Class： KISS KIM

This paper introduces a new, unique, and vivid way of oral class teaching methods： KISS KIM, based on the author＇s rich teaching experience and profound theoretical reflections in an attempt to share some knowledge on this respect with other fellow colleagues.

Emoji Essence:Detecting User Emotional Response on Visual Centre Field with Emoticons

User experience is understood in so many ways,like a one on one interaction(subjective views),online surveys and questionnaires.This is simply so get the user’s implicit response,this paper demonstrates the underlying user emotion on a particular interface such as the webpage visual content based on the context of familiarisation to convey users’emotion on the interface using emoji,we integrated physiological readings and eye movement behaviour to convey user emotion on the visual centre field of a web interface.The physiological reading is synchronised with the eye tracker to obtain correlating user interaction,and emoticons are used as a form of emotion conveyance on the interface.The eye movement prediction is obtained through a control system’s loop and is represented by different color display of gaze points(GT)that detects a particular user’s emotion on the webpage interface.These are interpreted by the emoticons.Result shows synchronised readings which correlates to area of interests(AOI)of the webpage and user emotion.These are prototypical instances of authentic user response execution for a computer interface and to easily identify user response without user subjective response for better and easy design decisions.

Lavinia Fontana’s Galatea: Personification of Fortune and Venus

Lavinia Fontana’s(1552-1614)Galatea and Cherubs riding the Stormy Waves on a Sea Monster(aka Galatea)of 1590 is an intriguing mythological painting.Being painted on copper,it is a fine example of Lavinia’s exploration of new artistic techniques and materials as well as testimony to her bold artistic interpretations.Lavinia’s Galatea was part of a private collection in Bologna(Diletta Badeschi).This work fascinates the viewer with its erotic audacity and complex iconographical conceits.Recent scholarship by Daniele Benati,Fausto Gozzi,and Enrico Maria Dal Pozzolo assist in unraveling the meaning of this painting.In this essay there are additional interpretative suggestions.