The identity system depends on tangible architecture, landscape roads and so on, but it doesn＇ t equal to the supplement of its subject but an indispensable constituent part. As the finishing touch of the whole urban...The identity system depends on tangible architecture, landscape roads and so on, but it doesn＇ t equal to the supplement of its subject but an indispensable constituent part. As the finishing touch of the whole urban space, by means of design of elements such as symbols, graphs, characters and colors as well as integration of various factors, the identity system reflects the urban specialty, conveys urban features related to history, geography, culture and emotion. The identity system provides suitable space environment to people through application of concrete symbols, graphs, characters and colors, in addition, it also mirrors that the designing culture of a city equals to its design concept with the combination of the historical culture of this city. A modem city shall be provided with such function, that is, it shall possess a whole set of well-designed and scientific-planned indication mechanism to help those wandering pedestrians to indicate direction and find their way successfully. It shall not only serve the mass, realize inter-coordination among people, identity facility and space environment to make people＇ s living environment more comfortable and convenient, but also it constitutes the vital cartier to spread local culture and model urban brand.展开更多
The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues th...The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues that photographs are no longer used as external cultural metaphors,but as invisible references to racial prejudice and racial contradictions.This article re-examines Oates’racial issue writing in the form of visual narratives and considers the ambivalence of the dual identities and double consciousness of blacks in New York City in the late 1950s from the visual ethical interpretation of black identity awareness,and the perception of cruelty and violence of social inequality.The historical limitations of the harsh reality of racism make a critical intervention in visual ethics.展开更多
Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material cu...Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material culture, mental state, and physical body. Photography is the extension of human vision, the appearance of which has changed the way in which people see the world, molded the subject identity of modernity, and participated in the social construction of visual modernity. To witness the history is not the only purpose of studying on photograph-based pictorials in the republican period, for which it is more important to provide visual reference for the construction of China＇s modernization, and to witness the multiplicity, mobility, and inner-diversity of modernity.展开更多
This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the in...This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.展开更多
文摘The identity system depends on tangible architecture, landscape roads and so on, but it doesn＇ t equal to the supplement of its subject but an indispensable constituent part. As the finishing touch of the whole urban space, by means of design of elements such as symbols, graphs, characters and colors as well as integration of various factors, the identity system reflects the urban specialty, conveys urban features related to history, geography, culture and emotion. The identity system provides suitable space environment to people through application of concrete symbols, graphs, characters and colors, in addition, it also mirrors that the designing culture of a city equals to its design concept with the combination of the historical culture of this city. A modem city shall be provided with such function, that is, it shall possess a whole set of well-designed and scientific-planned indication mechanism to help those wandering pedestrians to indicate direction and find their way successfully. It shall not only serve the mass, realize inter-coordination among people, identity facility and space environment to make people＇ s living environment more comfortable and convenient, but also it constitutes the vital cartier to spread local culture and model urban brand.
文摘The issue of race is the focus of Oates’novel Because It Is Bitter,and Because It Is My Heart.The racial identity metaphors in the photos in the novels show the characteristics of racial ideology.This paper argues that photographs are no longer used as external cultural metaphors,but as invisible references to racial prejudice and racial contradictions.This article re-examines Oates’racial issue writing in the form of visual narratives and considers the ambivalence of the dual identities and double consciousness of blacks in New York City in the late 1950s from the visual ethical interpretation of black identity awareness,and the perception of cruelty and violence of social inequality.The historical limitations of the harsh reality of racism make a critical intervention in visual ethics.
文摘Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material culture, mental state, and physical body. Photography is the extension of human vision, the appearance of which has changed the way in which people see the world, molded the subject identity of modernity, and participated in the social construction of visual modernity. To witness the history is not the only purpose of studying on photograph-based pictorials in the republican period, for which it is more important to provide visual reference for the construction of China＇s modernization, and to witness the multiplicity, mobility, and inner-diversity of modernity.
文摘This paper analyzes Park Saengkwang(1904-1985)’s artwork,created in the 1980s and influenced by Musok,Korean Shamanism.It explores Musok’s thematic significance in the development of his distinctive style and the inspiration behind his stylistic changes.Park’s ink paintings are done in bold and intense colors and create an intriguing,mysterious mood,inviting the viewers to the primordial visual experience and exposing its viewers to Korean Shamanism,which has endured the perception that fluctuated between positive and negative throughout Korean history.The practice became a fitting cultural emblem associated with the national identity during the 1970s and 1980s,and thus became a way for Park to explicitly articulate his cultural roots,creating a visual connotation of“Korean.”His art,portraying gut,Korean shamanistic communal rituals,could be conceived as a pictorial rendering of the idea of kibok,praying for good fortune,and served as a pujŏk,talisman paper,that possesses magical healing and protecting power.By striving to overcome the stylistic conflicts between Korean and Japanese,or traditional and Western,Park’s art accomplished the visual rhetoric of national aesthetic sensitivity that built on the communal thoughts and cultural experience of shamanism in the modern history of Korea.
