In psychology, the concept of interpretation has been namely associated to the subjectivist paradigm underpinning qualitative approaches, rather than the objectivist paradigm charactefising quantitative research. In t...In psychology, the concept of interpretation has been namely associated to the subjectivist paradigm underpinning qualitative approaches, rather than the objectivist paradigm charactefising quantitative research. In this article, we challenge this belief by showing how interpretation concerns psychology as a whole. To do this, the authors will first consider some dominant tendencies characterising the psychological field in general, such as the ＂empiricist illusion＂ and the ＂trap of scientism＂ （Vygotsky 1999）. Moreover, they will introduce the cultural perspective in psychology, pertinent to deconstruct several assumptions regarding research within the discipline. Stemming from this approach, ＂indirect methods＂ will be presented with regard to their potential to analyse psychological phenomena both qualitatively and scientifically. They will conclude by describing a set of principles that can be implemented when doing qualitative research as to ensure the quality and the adequacy of interpretation.展开更多
This study seeks to establish the major relevance of the ironic vision embodied in the narrative structure in George Orwell＇s early novel Nineteen Eighty-Four. After providing a comprehensive satisfying examination o...This study seeks to establish the major relevance of the ironic vision embodied in the narrative structure in George Orwell＇s early novel Nineteen Eighty-Four. After providing a comprehensive satisfying examination of the cultural phenomenon that goes by the name of ＂Modernism＂, the world in which the young George Orwell began his literary career; the study will present a critical analyses exploring Orwell＇s novel concerning the past-war ironic dystopian vision, with special reference to his experiment with the ironic narrative techniques and structure.展开更多
Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving a...Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.展开更多
文摘In psychology, the concept of interpretation has been namely associated to the subjectivist paradigm underpinning qualitative approaches, rather than the objectivist paradigm charactefising quantitative research. In this article, we challenge this belief by showing how interpretation concerns psychology as a whole. To do this, the authors will first consider some dominant tendencies characterising the psychological field in general, such as the ＂empiricist illusion＂ and the ＂trap of scientism＂ （Vygotsky 1999）. Moreover, they will introduce the cultural perspective in psychology, pertinent to deconstruct several assumptions regarding research within the discipline. Stemming from this approach, ＂indirect methods＂ will be presented with regard to their potential to analyse psychological phenomena both qualitatively and scientifically. They will conclude by describing a set of principles that can be implemented when doing qualitative research as to ensure the quality and the adequacy of interpretation.
文摘This study seeks to establish the major relevance of the ironic vision embodied in the narrative structure in George Orwell＇s early novel Nineteen Eighty-Four. After providing a comprehensive satisfying examination of the cultural phenomenon that goes by the name of ＂Modernism＂, the world in which the young George Orwell began his literary career; the study will present a critical analyses exploring Orwell＇s novel concerning the past-war ironic dystopian vision, with special reference to his experiment with the ironic narrative techniques and structure.
文摘Since the mid-1980s Chinese calligraphy art has undergone a radical change and has opened itself to experimentation. A vivid debate on CCC （Contemporary Chinese Calligraphy） （Zhongguo xiandai shufa） is involving art critics in China nowadays. WANG Dongling and the modernists think that, despite many changes and influences, we can still refer to the traditional calligraphic lexicon to describe the calligraphic production of contemporary Chinese art. They still remain deeply rooted in the signified system of Chinese writing, even if they break with the strict rules of Chinese classical aesthetic （contamination of Western elements and focus on the stylistic exploration）. WANG Nanming and the Avant-garde think that ＂contemporary calligraphy is not calligraphy yet＂： It is ＂anti-calligraphy＂, annihilates Chinese tradition, rejects the use of legible characters, experiments with new languages and new media within the idiom of international contemporary art. The result is the creation of works of art that could be assimilated to Abstract art, Abstract expressionism, Conceptual art, Performance art, Contemporary dance, Multimedia art, and even Street art. This paper aims at showing how still valid and extremely productive are both these two theoretical and creative/practical approaches to Chinese calligraphy in China nowadays. They turned the art of calligraphy into a medium for global comprehension and communication.
