Global Memory Net (GMNet) is intended to be an effective gateway to the world cultural, historical, and heritage image collections from selected academic educational and research partners in the world. Much of these u...Global Memory Net (GMNet) is intended to be an effective gateway to the world cultural, historical, and heritage image collections from selected academic educational and research partners in the world. Much of these unique collections of great value to education and research are not currently accessible due to distance, form, and technical barriers. This project is to find new ways to enable users to access and exploit these significant research collections via global network. As GMNet is ending its first 5-year phase in October 2005, it has contributed substantially to the community building in digital library development by ac- commodating numerous collaborators and technical staff from various parts of the world to spend 3 to 5 months as a full-member of the GMNet team in Boston. They have come from different parts of China—such as Sichuan, Hainan, Shanghai and Xi’an; Croatia; and Hanoi, Vietnam. In addition to contribute to the overall system development and enhancement of system function- alities, they have brought valuable sample image collections of their own institutions/countries, and actually developed prototype collections as a part of GMNet. This paper describes the exciting and productive experience of the first of this visiting research group in developing the GMNet’s Version 2.0 PHP-based system under Prof. Chen’s overall supervision. It also describes both the system’s technical level structure—user/Web-based application/data, and complex functionalities with multi-collection, multi-lingual, multi-modal searching capabilities; system management capabilities; as well as provisions for user uploads and retrieval for our own projects. This Version 2.0 system is built on the Linux/Apache/PHP/MySQL platform. What is described in this paper is an actual case which has formed a base for further new development by others in the research group. It demonstrates fully the value of the synergistic collaboration among global partners for universal digital library development. More information can be found in http://www.memorynet.org/.展开更多
The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy ...The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy （草书）, on the other hand, aims to create a vibrant beauty resulting from sweeping wrap-around and continuous changes. It also pays attention to the personality stretch, the lyrical and expressive, and the abstract beauty within images. In both arts, there is a rhythmic beauty running through the works, allowing the charm of lines to fully express the artist＇s creative thoughts and feelings, making them stand out impressively.展开更多
A digital watermark is an invisible mark embedded in a digital image that may be used for a number of different purposes including copyright protection. Due to the urgent need for protecting the copyright of digital p...A digital watermark is an invisible mark embedded in a digital image that may be used for a number of different purposes including copyright protection. Due to the urgent need for protecting the copyright of digital products in digital library, digital watermarking has been proposed as a solution to this problem. This letter describes potential situations that nonlinear theory can be used to enhance robustness and security of the watermark in digital library. Some nonlinear watermark techniques have been enumerated. Experimental results show that the proposed scheme is superior to the general watermark scheme both in security and robustness in digital library.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
TESOL is the abbreviation of Teaching English to Speakers of Other Languages. The basic meaning is international English teacher qualification certificate, and the teaching objects are the students which uses English ...TESOL is the abbreviation of Teaching English to Speakers of Other Languages. The basic meaning is international English teacher qualification certificate, and the teaching objects are the students which uses English as the second language. The theme of TESOL is to observe the methods and theory of English teaching, which makes the teachers＇ level of English teaching improve. On the basis of course learning experience of TESOL, the paper observes the disadvantages and advantages of TESOL from teaching design and teaching ideas. And the paper discuses the enlightenment of it for domestic English teaching.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 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
基金supported by the US National Science Foundation/International Digital Library Program(Grant No.NSF/CISE/IIS-9905833).
文摘Global Memory Net (GMNet) is intended to be an effective gateway to the world cultural, historical, and heritage image collections from selected academic educational and research partners in the world. Much of these unique collections of great value to education and research are not currently accessible due to distance, form, and technical barriers. This project is to find new ways to enable users to access and exploit these significant research collections via global network. As GMNet is ending its first 5-year phase in October 2005, it has contributed substantially to the community building in digital library development by ac- commodating numerous collaborators and technical staff from various parts of the world to spend 3 to 5 months as a full-member of the GMNet team in Boston. They have come from different parts of China—such as Sichuan, Hainan, Shanghai and Xi’an; Croatia; and Hanoi, Vietnam. In addition to contribute to the overall system development and enhancement of system function- alities, they have brought valuable sample image collections of their own institutions/countries, and actually developed prototype collections as a part of GMNet. This paper describes the exciting and productive experience of the first of this visiting research group in developing the GMNet’s Version 2.0 PHP-based system under Prof. Chen’s overall supervision. It also describes both the system’s technical level structure—user/Web-based application/data, and complex functionalities with multi-collection, multi-lingual, multi-modal searching capabilities; system management capabilities; as well as provisions for user uploads and retrieval for our own projects. This Version 2.0 system is built on the Linux/Apache/PHP/MySQL platform. What is described in this paper is an actual case which has formed a base for further new development by others in the research group. It demonstrates fully the value of the synergistic collaboration among global partners for universal digital library development. More information can be found in http://www.memorynet.org/.
文摘The Western Abstract Painting has a dynamic, constantly-changing, and non-entity beauty. It focuses on the visual process, artistic feelings, and beauty of form as its creative core. The Chinese Cursive Calligraphy （草书）, on the other hand, aims to create a vibrant beauty resulting from sweeping wrap-around and continuous changes. It also pays attention to the personality stretch, the lyrical and expressive, and the abstract beauty within images. In both arts, there is a rhythmic beauty running through the works, allowing the charm of lines to fully express the artist＇s creative thoughts and feelings, making them stand out impressively.
基金Supported in part by the National Natural Science Foundation of China (No.60072044).
文摘A digital watermark is an invisible mark embedded in a digital image that may be used for a number of different purposes including copyright protection. Due to the urgent need for protecting the copyright of digital products in digital library, digital watermarking has been proposed as a solution to this problem. This letter describes potential situations that nonlinear theory can be used to enhance robustness and security of the watermark in digital library. Some nonlinear watermark techniques have been enumerated. Experimental results show that the proposed scheme is superior to the general watermark scheme both in security and robustness in digital library.
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.
文摘TESOL is the abbreviation of Teaching English to Speakers of Other Languages. The basic meaning is international English teacher qualification certificate, and the teaching objects are the students which uses English as the second language. The theme of TESOL is to observe the methods and theory of English teaching, which makes the teachers＇ level of English teaching improve. On the basis of course learning experience of TESOL, the paper observes the disadvantages and advantages of TESOL from teaching design and teaching ideas. And the paper discuses the enlightenment of it for domestic English teaching.
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.
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.
