不可忽视的美学特征——乡土小说独特的“三画”、“四彩”

作为世界性母题的乡土小说,在中国历经近一个世纪的发展变化,在这一个世纪的历程中乡土小说演化出了不同的形态和主题,为文学史增添了绚丽的一笔。作为乡土小说美学特征的"三画、""四彩",在乡土小说的创作中无疑是展现乡土小说审美形态的重要手段。丁帆凭借自身敏锐的审美能力,抓住这一重要元素来评价乡土小说的发展历程和反思中国乡土小说的创作过程,为过去、现在及将来的乡土小说创作和评判提供了一条参考价值标准。

启蒙、批判与诗性——丁帆《中国乡土小说史》论

丁帆是一位强调知识分子启蒙性的批评家,在他的乡土小说史观中始终贯穿着一种否定性的解构思维,即主要用批判的眼光来观察、剖析其批评对象,这就使他的文学史观带有强烈个性化色彩。除了强调文学的启蒙、批判性之外,他还格外推举文学的美学性,在继承鲁迅、周作人等人所提出的地域色彩、风俗画面的基础上,提出了乡土小说的"三画"即风俗画、风景画、风情画主张。

乡土小说研究的四个策略——评丁帆《中国乡土小说史》

丁帆先生的《中国乡土小说史》,为我们建构了一套完整的乡土小说理论,也为此后的乡土小说研究提供了一个可资借鉴的范式。本书对乡土小说的研究策略主要表现在以下几个方面:首先,归纳乡土小说"三画四彩"的美学定义,并以此作为衡量乡土小说艺术成就的一个重要标尺和维度;其次,对乡土小说悲剧精神的特殊关照,成为丁帆论述《中国乡土小说史》的另一个重要特征;再次,丁帆从比较的视角进行乡土小说的研究,使读者更加清晰地认识到乡土小说的独特之处;最后,丁帆在《中国乡土文学史》的论述中对乡土文学提出新颖的观点,抒发"愤激"情怀。

Simulating the dynamics of fluid-cylinder interactions

We present the simulation of the dynamics of fluid-cylinder interactions in a narrow three-dimensional channel filled with a Newtonian fluid, using a Lagrange multiplier based fictitious domain methodology combined with a finite element method and an operator splitting technique. As expected, a settling truncated cylinder turns its broadside perpendicular to the main stream direction and the center of mass moves to the central axis of the channel. In the case of two truncated cylinders, they first move around each other for a while and then stay together in a "T" shape. After the "T" shape has been formed for a long enough time, we found no vortex shedding behind the cylinders. When simulating the fluidization of 60 truncated cylinders, we captured the features of interactions among fluidized cylinders as observed in experiments.

Screening efficiency and screen length of a linear vibrating screen using DEM 3D simulation

The effect of screen length on the screening efficiency of particles is studied under various single parameter conditions including frequency, amplitude, vibration angle, and screen inclination. The Discrete Element Method (DEM) has been used to simulate the screening process. A functional relationship between screening efficiency and screen length is established. It is shown that screening efficiency and screen length have a complicated exponential relationship. Relationships between them are profoundly discussed and conclusions are easily drawn: low values of the parameters do not benefit screening; screening efficiency generally increases with screen length; screening efficiency reaches a plateau when these parameters are in range frequently encountered in practical applications.

Trichromatic Animation

The process described here is well at the heart of the appearance of pigmentary materials and their interactions with light. It is indeed based on the property of colored materials to reflect, in a selective way, the colored radiations of light. The innovation is here based on a more subtle and more complete process, using the trichromy, i.e., all the possibilities of the white light, which is split in three primary radiations： red^een--blue. One can, indeed, animate a pigmentary surface by the alternate projection of these three colors, and thus reveal three different images on the same support, or create a motion effect. However, in this process, the weakness of bhie, compared to green and red, might constitute an obstacle. But that will be compensated by the use of fluorescent colors, instead of ordinary colors. This process may provide very spectacular applications in the fields of lighting, architecture, design, scenography, booths, display windows, etc.. We shall propose a step-to-step approach.

On the integration of two-dimensional animation and three-dimensional art animation

In recent years, with the level of science and technology progress, largely to promote the development of animation techniques. Animated film is divided into two-dimensional animation and three-dimensional animation, both in the retention feature animated films, based on the performance of each with different strengths, thus forming a different artistic style. Wherein the two-dimensional animation is the most common one is the most basic form of expression in animation technology is relatively mature and complete, but because of the development of animation techniques, two-dimensional animation can not meet the needs of the audience. Thus, the effective combination of two-dimensional animation and three-dimensional animation technology, the advantages of integration between the two is particularly important, so that innovation in the form of screen performance, enhance audio-visual experience. In this paper, two-dimensional animation and three-dimensional animation skills fusion analysis and research, and put forward a number of specific observations, in order to learn.

Study on the Scaffolding Teaching of Three-dimensional Animation Foundation based on Modularization

In this paper, the teaching of course Three-dimensional Animation Foundation is designed mainly based on teaching content modularization and scaffolding teaching model. The modularized content design for Three-dimensional Animation Foundation is specifically expounded, and also the ideas for developing the scaffolding teaching model are analyzed. How to integrate the scaffolding teaching model into course teaching is introduced in details. Finally, new methods for guiding students to think independently in course teaching and improve students＇ self-awareness and self-learning ability are proposed.

Real-time Animation Technique for a Kind of Non-rigid Objects

A real-time animation technique for a kind of non-rigid objects, flexible and thin objects, is proposed, which can update with stability the state of n mass points of the mass-spring (MS) modei with time complexity of O (n ). The new implicit numerical integration technique of the authors, which is based on a simple approximation of the linear system, has great advantages over the existing implicit integration methods. Moreover, experiment shows that the new technique is highly efficient in animating a kind of non-rigid objects, and suitable for the draping module of the 3D garment CAD system.