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被遮蔽的“第三空间”:跨文化写作者的文学表意实践
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作者 闫炜炜 《武陵学刊》 2017年第2期92-97,共6页
"第三空间"是隐匿于多民族文学关系中的一种跨文化写作的文学表意实践空间。跨文化写作者的汉族身份在少数民族文学领域往往受到重重遮蔽,但他们又因为所具有的双重视界与"有方向的写作"而成为民族文化阐释的有力... "第三空间"是隐匿于多民族文学关系中的一种跨文化写作的文学表意实践空间。跨文化写作者的汉族身份在少数民族文学领域往往受到重重遮蔽,但他们又因为所具有的双重视界与"有方向的写作"而成为民族文化阐释的有力发声者,他们观看事物的另类角度和始终持有的审美距离,使其作品抵达民族交往、文学交融、文化认同的"第二现实"境界。跨文化写作者的文学表意实践,凸显了文学人类学的素质与情怀,扩大了文学文本环境,有助于写作主体文化身份固有和建构的不断弥合。 展开更多
关键词 “第三空间” 跨文化写作 “第二现实” 文学表意实践
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On Chinese New School in portrait sculpture
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作者 Yueming Zeng Ming Yang 《International Journal of Technology Management》 2014年第1期126-128,共3页
"The new academic portrait sculpture" is the mainstream style of Chinese contemporary portrait sculpture, it attempts to rethink traditional and contemporary cultural on the basis of the traditional realism College.... "The new academic portrait sculpture" is the mainstream style of Chinese contemporary portrait sculpture, it attempts to rethink traditional and contemporary cultural on the basis of the traditional realism College. Perhaps this attempt was coordinated with Chinese traditional " eclectic, absorbing " idea, and soon was unanimously affirmed. Parts of the second generation of sculptors have begun to " adapt to the times," the vast majority of third-generation sculptors completed the transition very quickly, and therefore produced various works, such as Li Xiangqun' s "Guo Moruo ", Jiang Jie ' s " classmates series "etc. 展开更多
关键词 ACADEMIC PORTRAIT sculpture.
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Carlo Bavagnoli's and Mario Dondero's Photojournalism in the Neorealist Italy in the Post-second World War (1950-1959)" An Uncensored Gaze
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作者 Rita Ladogana 《Journal of Literature and Art Studies》 2015年第2期141-150,共10页
The article describes the activity of two Italian photographers: Carlo Bavagnoli (1932) and Mario Dondero (1928) In particular, it focuses on their debuts in the world of photojournalism in Italy since the early ... The article describes the activity of two Italian photographers: Carlo Bavagnoli (1932) and Mario Dondero (1928) In particular, it focuses on their debuts in the world of photojournalism in Italy since the early 1950s. First, it offers an overview of the national photographic research in the post-Second World War, underlining a significant evolution compared with the past and the complexity of the directions undertaken. Then, in the outlined context, it studies the work of the two photographers and their approach to a socially active photography, dwelling mainly on the relationships interwoven with the ruling publishing system. It also underlines the elements characterizing the nature of their reportages and the distance from an idea of image exploitation, derived from an always increasing interference of the political control over the images destined to mass communication. Both Dondero and Bavagnoli avoid any tendency to spectacularization and to the representative models typical of the common neorealist orientation, proposing an information founded on the effectiveness of narration, on the concreteness and immediacy of evidence; the first collaborations with the most progressive magazines testify the peculiarity of a method that both will coherently develop in the experiences matured outside the Italian context. 展开更多
关键词 photojoumalism ITALY NEOREALISM Carlo Bavagnoli Mario Dondero
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