The shrinking Arctic sea-ice area(SIA) in recent decades is a striking manifestation of the ongoing climate change.Variations of the Arctic sea ice have been continuously observed by satellites since 1979, relatively ...The shrinking Arctic sea-ice area(SIA) in recent decades is a striking manifestation of the ongoing climate change.Variations of the Arctic sea ice have been continuously observed by satellites since 1979, relatively well monitored since the 1950s, but are highly uncertain in the earlier period due to a lack of observations. Several reconstructions of the historical gridded sea-ice concentration(SIC) data were recently presented based on synthesized regional sea-ice observations or by applying a hybrid model–empirical approach. Here, we present an SIC reconstruction for the period1901–2019 based on established co-variability between SIC and surface air temperature, sea surface temperature, and sea level pressure patterns. The reconstructed sea-ice data for March and September are compared to the frequently used Had ISST1.1 and SIBT1850 datasets. Our reconstruction shows a large decrease in SIA from the 1920 to 1940 concurrent with the Early 20th Century Warming event in the Arctic. Such a negative SIA anomaly is absent in Had ISST1.1 data. The amplitude of the SIA anomaly reaches about 0.8 mln km^(2) in March and 1.5 mln km^(2) in September. The anomaly is about three times stronger than that in the SIBT1850 dataset. The larger decrease in SIA in September is largely due to the stronger SIC reduction in the western sector of the Arctic Ocean in the 70°–80°N latitudinal zone. Our reconstruction provides gridded monthly data that can be used as boundary conditions for atmospheric reanalyses and model experiments to study the Arctic climate for the first half of the 20th century.展开更多
By the study of three great American literary works, The Great Gatsby, Tender is the Night and The Age of Innocence, this paper aims to give a holistic interpretation of"New Woman"and their intrinsic relatio...By the study of three great American literary works, The Great Gatsby, Tender is the Night and The Age of Innocence, this paper aims to give a holistic interpretation of"New Woman"and their intrinsic relationship with consumer culture in the light of Baudrillard's theories about the consumer society and the consumer culture.展开更多
Landscape spatial pattern mainly refers to the distribution of patches, which are different in size and shape in space owing to the interaction of various ecological activities. In landscape ecology study, landscape p...Landscape spatial pattern mainly refers to the distribution of patches, which are different in size and shape in space owing to the interaction of various ecological activities. In landscape ecology study, landscape pattern has been one of the key study areas. Water body landscape plays an important role in the development history of a city, but at present city water body landscape in many cities has been destroyed, hence protecting water body in the city is becoming more and more important. In order to protect city water body landscape reasonably, the precondition is to probe the dynamics of water body landscape. Based on historical data and remote sensing data, six indexes including patch number, patch area, landscape dominance index, fractal dimension, patch density and connectivity index etc. were used to analyze landscape pattern dynamics of water body in Kaifeng city since the end of the Qing Dynasty (in the 20th century). The results showed: (1) Since the end of the Qing Dynasty, landscape area of water body in Kaifeng city increased first and then decreased from 1898 to 2002AD; the landscape dominant degree had the same changing tendency with the area. (2) Patch number of water body landscape in Kaifeng city had an increase from 1898 to 2002, but maximum area of patch, minimum area of patch and average area of patch decreased, which resulted in an increase in landscape fragment degree. (3) Connectivity index decreased and fractal dimension increased from 1898 to 2002. The reasons for these changes were the repeated overflows and flooding of the Yellow River and the influence of human activities.展开更多
This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in t...This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in the existing geopolitical conditions. It would look very closely at the first silent film made in Iran titled Haji Agha, the Cinema Actor （1933） by Ovanes Ohanian. While reflecting on the socio-political relation of the film to its era, this paper would also bring to attention the process of filmmaking and screening in 1930s Iran--the production and restoration of footage, posters and publicity for the film, and the screening venue. The cinema in question used to be called TamashaKhaneh when it was simply a projection room in Tehran where people would keenly take their seats to view the same film over and over again in some cases. The author would investigate the advent of cinema as a foreign concept in Iranian life and try to reflect upon the way in which it has been gradually adopted as a national treasure over the years. Haji Agha, the Cinema Actor is one of the most important reflections of the social transition that has occurred in Iranian history. Here, through the hundred-minute black and white footage, Ohanian depicts the tense political climate following the coup of Mossadegh, as well as the ban on traditional clothing during the last monarchy of Iran; at the same time, the film represents tradition and modernity as two supposedly opposite stances that, in fact, complemented each other in this era. The title combines Haji Agha, a religious man who has visited mecca, with the English words the Cinema Actor, to further express the complementary relation between old and new. Ohanian very professionally depicts the role of family as a core part of the religious boundaries for men and women that unfold throughout the film due to their encounter with cinema and filmmaking. He uses issues like sex and taboo to push the boundaries and map a certain cultural modernity within Iranian society.展开更多
This study is concerned with the literary and aesthetic influences that led to Charles Sheeler＇s formation of a paragone in his early 20th century work. This painter, photographer, printmaker, and experimental filmma...This study is concerned with the literary and aesthetic influences that led to Charles Sheeler＇s formation of a paragone in his early 20th century work. This painter, photographer, printmaker, and experimental filmmaker had very specific ideas concerning the hierarchy of the visual arts. While he is known for embracing a wide range of media and materials, by 1919 his aesthetic thought reveals a desire to elevate the painting over all other media. This formation of a visual paragone was initially influenced by his involvement in the interdisciplinary circles which surrounded both Alfred Stieglitz and Walter and Louise Arensberg in New York City. In particular, his lifelong friendship with the poet and writer William Carlos Williams would shape his aesthetic thought leading to his elevation of painting over all other media. Sheeler＇s paragone would begin to form during his stays at the rural Doylestown House in Bucks County, Pennsylvania. This rural home, which he first rented with fellow painter Morton Schamberg in 1916, would become an artistic refuge for both artists. While commercial photography was beginning to take up more if his time in Philadelphia, it was the retreats to the Doylestown house that enabled Sheeler to continue experiments in painting and begin to think of the photograph as something other than a document of architectural work. At this early stage in his artistic career, Sheeler was beginning to form his own hierarchy and contribute to the continuing argument of painting versus photography.展开更多
基金partly supported by the Russian Ministry of Science and Higher Education (Agreement No.075-15-2021-577)the Russian Science Foundation (Grant No.23-47-00104)+2 种基金funded by the Research Council of Norway (Grant No.Combined 328935)the support of the Bjerknes Climate Prediction Unit with funding from the Trond Mohn Foundation (Grant No.BFS2018TMT01)the support of the National Natural Science Foundation of China (Grant No.42261134532)。
文摘The shrinking Arctic sea-ice area(SIA) in recent decades is a striking manifestation of the ongoing climate change.Variations of the Arctic sea ice have been continuously observed by satellites since 1979, relatively well monitored since the 1950s, but are highly uncertain in the earlier period due to a lack of observations. Several reconstructions of the historical gridded sea-ice concentration(SIC) data were recently presented based on synthesized regional sea-ice observations or by applying a hybrid model–empirical approach. Here, we present an SIC reconstruction for the period1901–2019 based on established co-variability between SIC and surface air temperature, sea surface temperature, and sea level pressure patterns. The reconstructed sea-ice data for March and September are compared to the frequently used Had ISST1.1 and SIBT1850 datasets. Our reconstruction shows a large decrease in SIA from the 1920 to 1940 concurrent with the Early 20th Century Warming event in the Arctic. Such a negative SIA anomaly is absent in Had ISST1.1 data. The amplitude of the SIA anomaly reaches about 0.8 mln km^(2) in March and 1.5 mln km^(2) in September. The anomaly is about three times stronger than that in the SIBT1850 dataset. The larger decrease in SIA in September is largely due to the stronger SIC reduction in the western sector of the Arctic Ocean in the 70°–80°N latitudinal zone. Our reconstruction provides gridded monthly data that can be used as boundary conditions for atmospheric reanalyses and model experiments to study the Arctic climate for the first half of the 20th century.
文摘By the study of three great American literary works, The Great Gatsby, Tender is the Night and The Age of Innocence, this paper aims to give a holistic interpretation of"New Woman"and their intrinsic relationship with consumer culture in the light of Baudrillard's theories about the consumer society and the consumer culture.
文摘Landscape spatial pattern mainly refers to the distribution of patches, which are different in size and shape in space owing to the interaction of various ecological activities. In landscape ecology study, landscape pattern has been one of the key study areas. Water body landscape plays an important role in the development history of a city, but at present city water body landscape in many cities has been destroyed, hence protecting water body in the city is becoming more and more important. In order to protect city water body landscape reasonably, the precondition is to probe the dynamics of water body landscape. Based on historical data and remote sensing data, six indexes including patch number, patch area, landscape dominance index, fractal dimension, patch density and connectivity index etc. were used to analyze landscape pattern dynamics of water body in Kaifeng city since the end of the Qing Dynasty (in the 20th century). The results showed: (1) Since the end of the Qing Dynasty, landscape area of water body in Kaifeng city increased first and then decreased from 1898 to 2002AD; the landscape dominant degree had the same changing tendency with the area. (2) Patch number of water body landscape in Kaifeng city had an increase from 1898 to 2002, but maximum area of patch, minimum area of patch and average area of patch decreased, which resulted in an increase in landscape fragment degree. (3) Connectivity index decreased and fractal dimension increased from 1898 to 2002. The reasons for these changes were the repeated overflows and flooding of the Yellow River and the influence of human activities.
文摘This paper would investigate the Moving Image Archive at the Cinema Museum in Tehran to highlight the importance of new media in Iran after the 1930s and the changes that were brought about by the birth of cinema in the existing geopolitical conditions. It would look very closely at the first silent film made in Iran titled Haji Agha, the Cinema Actor （1933） by Ovanes Ohanian. While reflecting on the socio-political relation of the film to its era, this paper would also bring to attention the process of filmmaking and screening in 1930s Iran--the production and restoration of footage, posters and publicity for the film, and the screening venue. The cinema in question used to be called TamashaKhaneh when it was simply a projection room in Tehran where people would keenly take their seats to view the same film over and over again in some cases. The author would investigate the advent of cinema as a foreign concept in Iranian life and try to reflect upon the way in which it has been gradually adopted as a national treasure over the years. Haji Agha, the Cinema Actor is one of the most important reflections of the social transition that has occurred in Iranian history. Here, through the hundred-minute black and white footage, Ohanian depicts the tense political climate following the coup of Mossadegh, as well as the ban on traditional clothing during the last monarchy of Iran; at the same time, the film represents tradition and modernity as two supposedly opposite stances that, in fact, complemented each other in this era. The title combines Haji Agha, a religious man who has visited mecca, with the English words the Cinema Actor, to further express the complementary relation between old and new. Ohanian very professionally depicts the role of family as a core part of the religious boundaries for men and women that unfold throughout the film due to their encounter with cinema and filmmaking. He uses issues like sex and taboo to push the boundaries and map a certain cultural modernity within Iranian society.
文摘This study is concerned with the literary and aesthetic influences that led to Charles Sheeler＇s formation of a paragone in his early 20th century work. This painter, photographer, printmaker, and experimental filmmaker had very specific ideas concerning the hierarchy of the visual arts. While he is known for embracing a wide range of media and materials, by 1919 his aesthetic thought reveals a desire to elevate the painting over all other media. This formation of a visual paragone was initially influenced by his involvement in the interdisciplinary circles which surrounded both Alfred Stieglitz and Walter and Louise Arensberg in New York City. In particular, his lifelong friendship with the poet and writer William Carlos Williams would shape his aesthetic thought leading to his elevation of painting over all other media. Sheeler＇s paragone would begin to form during his stays at the rural Doylestown House in Bucks County, Pennsylvania. This rural home, which he first rented with fellow painter Morton Schamberg in 1916, would become an artistic refuge for both artists. While commercial photography was beginning to take up more if his time in Philadelphia, it was the retreats to the Doylestown house that enabled Sheeler to continue experiments in painting and begin to think of the photograph as something other than a document of architectural work. At this early stage in his artistic career, Sheeler was beginning to form his own hierarchy and contribute to the continuing argument of painting versus photography.
