Shortly after the celebration of twenty years of the narratology seminar at the CRAL(CNRS/EHESS)in Paris,Cao Danhong,professor of French language and literature at Nanjing University in China,conducted an interview wi...Shortly after the celebration of twenty years of the narratology seminar at the CRAL(CNRS/EHESS)in Paris,Cao Danhong,professor of French language and literature at Nanjing University in China,conducted an interview with John Pier,one of the organizers of the seminar at the CRAL and also one of the most active researchers in narratology.Based on the evolution of the Seminar's work over the past twenty years,John Pier briefly reviewed the achievements of Western narratology since its foundation,suggested reexamining its evolution by dividing it into three"generations",and reaffirmed its fundamental characteristics such as transborderality,transmediality,and transdisciplinarity.Also discussed were paths for the future development of narratology with an emphasis on comparative research,diachronic research,and historiography.展开更多
＂History＂ is a historical works of reflecting the Greek and Persian Wars as the main content created by an ancient Greek historian Herodotus. As the first Greek historical masterpiece, ＂History＂ has its own unique...＂History＂ is a historical works of reflecting the Greek and Persian Wars as the main content created by an ancient Greek historian Herodotus. As the first Greek historical masterpiece, ＂History＂ has its own unique characteristics, which mainly reflects in three aspects： the equality of narrative attitude, branch narrative structures and oral narrative styles.展开更多
The purpose of this paper is to show that autobiographical works like Gabrielle Roy＇s Enchantment and Sorrow （1988） and R6gine Robin＇s La Qudbdcoite （1983）, do not succeed in anchoring the self and eliminating p...The purpose of this paper is to show that autobiographical works like Gabrielle Roy＇s Enchantment and Sorrow （1988） and R6gine Robin＇s La Qudbdcoite （1983）, do not succeed in anchoring the self and eliminating past traumatic experiences. These writers realize that they cannot reincarnate their former ＇T＇ as time has passed and their lives have changed. The self does not let itself be reduced to a definite being but on the contrary mirrors itsef in all its surroundings. Writing the fragmentation of the self makes these authobiographies appear on one hand, fictional as the ＂I＂ always eludes itself. But on the other hand, they best describe the postmodern ＇T＇ who is conscious of the permeability of one＇s own self as well inwards by the influences, the collages of others on the Self as outwards by the projection of the self onto others, like rhizome connecting to others and forming a web of exchanges like in cyberspace展开更多
Memories regarding the history of the Second Sino-Japanese War （1931-1945） and World War il （1939-1945） have always been refreshed in the minds of contemporaries through the retelling of ＂historical war stories＂...Memories regarding the history of the Second Sino-Japanese War （1931-1945） and World War il （1939-1945） have always been refreshed in the minds of contemporaries through the retelling of ＂historical war stories＂ in various forms including books, posters, films and other media presentations. However, these retellings are often criticised by some academics as distortion of historical facts. This is because many of the present generation of readers and audiences were not even born at the time the events happened. Thus, ＂historical facts＂ of this era are, in reality, very vague in people＇s minds and their ＂facts＂ are often simply a construction of frequently retold ＂historical war stories＂ mixed with imagination. This article will argue that even immediately after the end of both wars in 1945, fresh history memory was already distorted, with China being the main victim. Following the end of World War II, there was an extensive publication of books and periodicals about the war. However, through varied interpretations of primary sources and use of visual materials in different ways, various positions were created to suit specific needs for justification of China＇s desire to be part of the camp of world powers after 1945. Similar diverse positions were also used to make political arguments criticising both the Axis and Allied Powers for working toward different political ends.展开更多
In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with plural...In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works ＂ The brush stroke in Chinese painting and calligraphy ＂ Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material.展开更多
As a traditional writing instrument for calligraphy and painting, the Chinese brush has enjoyed a high reputation over the last 5,000 years due to its ability to controllably handle liquid ink, and has been widely use...As a traditional writing instrument for calligraphy and painting, the Chinese brush has enjoyed a high reputation over the last 5,000 years due to its ability to controllably handle liquid ink, and has been widely used to deposit ink into certain characters or figures as a means of cultural communication. In this mini-review, we first show how the key to the controllable liquid transfer in a Chinese brush lies in the anisotropic multi-scale structural features of the freshly emergent hairs. Then, drawing inspiration from this, applications in controllable liquid pumping, highly efficient liquid transfer and template-free printing microlines are addressed. We envision that the fundamentals of Chinese brushes and their applications in liquid manipulation mentioned in this review may also be extended to other liquid phase functional material systems.展开更多
In the 1930s and 1940s,foreign writers gathered in Yan’an drew the curtain back on recognition of China’s international image through their writings on the“red Mecca.”The international perspective on the image of ...In the 1930s and 1940s,foreign writers gathered in Yan’an drew the curtain back on recognition of China’s international image through their writings on the“red Mecca.”The international perspective on the image of Yan’an was shaped by the combined efforts of Yan’an writings by foreign writers and journalists in the interlocking cultural context of history and society.With revolutionary individual consciousness and high artistic creativity,the Yan’an narration of foreign writers had striking shared characteristics:a real sense of presence and a realistic significance beyond their times.Their discovery of the revolutionary power generated by the Chinese people and their calling for and shaping of“heroes of the masses”and their pursuit of“the character of the people”represented the spiritual dimension of their Yan’an writings,a dimension that was distinct from that of local writers.The foreign writers’creative practice and the creative experience of local writers refracted off each other,juxtaposing mirror images of Yan’an at home and abroad and promoting the modernity and cosmopolitanism of Yan’an literature in the intertextuality between reality and literature.Together with local writers,writers from abroad participated in the creation of Chinese revolutionary history and culture,bringing their personal discourse into the discourse of China’s new era and completing the restatement of their cultural identity.The global identity of Yan’an went through a difficult process of historical self-creation,breaking through the limitations of its international image and realizing the self-proving nature of modern Chinese history.展开更多
文摘Shortly after the celebration of twenty years of the narratology seminar at the CRAL(CNRS/EHESS)in Paris,Cao Danhong,professor of French language and literature at Nanjing University in China,conducted an interview with John Pier,one of the organizers of the seminar at the CRAL and also one of the most active researchers in narratology.Based on the evolution of the Seminar's work over the past twenty years,John Pier briefly reviewed the achievements of Western narratology since its foundation,suggested reexamining its evolution by dividing it into three"generations",and reaffirmed its fundamental characteristics such as transborderality,transmediality,and transdisciplinarity.Also discussed were paths for the future development of narratology with an emphasis on comparative research,diachronic research,and historiography.
文摘＂History＂ is a historical works of reflecting the Greek and Persian Wars as the main content created by an ancient Greek historian Herodotus. As the first Greek historical masterpiece, ＂History＂ has its own unique characteristics, which mainly reflects in three aspects： the equality of narrative attitude, branch narrative structures and oral narrative styles.
文摘The purpose of this paper is to show that autobiographical works like Gabrielle Roy＇s Enchantment and Sorrow （1988） and R6gine Robin＇s La Qudbdcoite （1983）, do not succeed in anchoring the self and eliminating past traumatic experiences. These writers realize that they cannot reincarnate their former ＇T＇ as time has passed and their lives have changed. The self does not let itself be reduced to a definite being but on the contrary mirrors itsef in all its surroundings. Writing the fragmentation of the self makes these authobiographies appear on one hand, fictional as the ＂I＂ always eludes itself. But on the other hand, they best describe the postmodern ＇T＇ who is conscious of the permeability of one＇s own self as well inwards by the influences, the collages of others on the Self as outwards by the projection of the self onto others, like rhizome connecting to others and forming a web of exchanges like in cyberspace
文摘Memories regarding the history of the Second Sino-Japanese War （1931-1945） and World War il （1939-1945） have always been refreshed in the minds of contemporaries through the retelling of ＂historical war stories＂ in various forms including books, posters, films and other media presentations. However, these retellings are often criticised by some academics as distortion of historical facts. This is because many of the present generation of readers and audiences were not even born at the time the events happened. Thus, ＂historical facts＂ of this era are, in reality, very vague in people＇s minds and their ＂facts＂ are often simply a construction of frequently retold ＂historical war stories＂ mixed with imagination. This article will argue that even immediately after the end of both wars in 1945, fresh history memory was already distorted, with China being the main victim. Following the end of World War II, there was an extensive publication of books and periodicals about the war. However, through varied interpretations of primary sources and use of visual materials in different ways, various positions were created to suit specific needs for justification of China＇s desire to be part of the camp of world powers after 1945. Similar diverse positions were also used to make political arguments criticising both the Axis and Allied Powers for working toward different political ends.
文摘In art of the canvas, the brush stroke in Chinese painting and calligraphy is one of the important behavior means of the canvas, have independent aesthetic value at the same time, contemporary, one that is with pluralism, varied painting idea and painting skill and technique of art is great and abundant, traditional in the canvas works ＂ The brush stroke in Chinese painting and calligraphy ＂ Already not merely can be spoken to the limit by the simple scribbling and wiping of pen, and Chinese comfortable brush stroke in Chinese painting and calligraphy, technique of writing incorporate visual language and spiritual intension created that can enrich the picture greatly in the canvas is created. This text attempts to canvass the canvas and create the feasibility that incorporated into comfortable brush stroke in Chinese painting and calligraphy and expansionary from two respect factors of cultural idea and skill and technique and tool material.
文摘As a traditional writing instrument for calligraphy and painting, the Chinese brush has enjoyed a high reputation over the last 5,000 years due to its ability to controllably handle liquid ink, and has been widely used to deposit ink into certain characters or figures as a means of cultural communication. In this mini-review, we first show how the key to the controllable liquid transfer in a Chinese brush lies in the anisotropic multi-scale structural features of the freshly emergent hairs. Then, drawing inspiration from this, applications in controllable liquid pumping, highly efficient liquid transfer and template-free printing microlines are addressed. We envision that the fundamentals of Chinese brushes and their applications in liquid manipulation mentioned in this review may also be extended to other liquid phase functional material systems.
基金This paper is a phased achievement sponsored on a rolling basis by the key project“Yan’an Literature and Art and the Study of Chinese Literature in the 20th Century,”(Grants No.11&ZD113)of the National Social Science Fund of China.
文摘In the 1930s and 1940s,foreign writers gathered in Yan’an drew the curtain back on recognition of China’s international image through their writings on the“red Mecca.”The international perspective on the image of Yan’an was shaped by the combined efforts of Yan’an writings by foreign writers and journalists in the interlocking cultural context of history and society.With revolutionary individual consciousness and high artistic creativity,the Yan’an narration of foreign writers had striking shared characteristics:a real sense of presence and a realistic significance beyond their times.Their discovery of the revolutionary power generated by the Chinese people and their calling for and shaping of“heroes of the masses”and their pursuit of“the character of the people”represented the spiritual dimension of their Yan’an writings,a dimension that was distinct from that of local writers.The foreign writers’creative practice and the creative experience of local writers refracted off each other,juxtaposing mirror images of Yan’an at home and abroad and promoting the modernity and cosmopolitanism of Yan’an literature in the intertextuality between reality and literature.Together with local writers,writers from abroad participated in the creation of Chinese revolutionary history and culture,bringing their personal discourse into the discourse of China’s new era and completing the restatement of their cultural identity.The global identity of Yan’an went through a difficult process of historical self-creation,breaking through the limitations of its international image and realizing the self-proving nature of modern Chinese history.
