Researchers in several disciplines and fields agree that the image establishing has both perceptual and affecfive evaluations. The paper comparatively analyzes the image of landscapes in ancient water towns held by 16...Researchers in several disciplines and fields agree that the image establishing has both perceptual and affecfive evaluations. The paper comparatively analyzes the image of landscapes in ancient water towns held by 1619 tourists after the investigations of Zbouzhuang and Tongli of Jiangsu Province. Based on the elements of the image of urban landscapes, the perceptual/cognitive image of tourist landscapes in water towns is developed including path, node, landmark, important courtyard, district and edge. Particularly the important courtyard plays the great role on the perceptive image of tourists, however, the perceptual/cognitive images of the district and the edge are obviously weak. Meanwhile, the finding showed that the affective images of tourist landscapes in Zhonzhuang differ with those of Tongli by the method of paired comparison. The main reason is that the affective images are influenced by the impressive scenery spots. Furthermore, the commercialization of streets and pollution of rivers are easy to be functioned negatively.展开更多
In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the g...In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the gaze in Lacan and Merleau-Ponty is part of the technical apparatus used to describe the foundation, production, and reproduction of the subject. I will begin by discussing the role of visual perception in subject-formation in their respective work, differentiating between the Merleau-Pontian notion of the ＂gaze of the world,＂ i.e., the ways in which things cast their gaze upon us, and the Lacanian gaze as a manifestation of the scopic drive. Through an analysis of anamorphosis I will show （1） how the gaze evades the spectator, （2） what the relationship of the gaze is to the object petit a as the object of the scopic drive, and （3） how both Merleau-Ponty and Lacan require a movement that precedes and destabilizes the subject of intentional consciousness.展开更多
基金Under the auspices of the National Natural Science Foundation of China (No. 40371030), Research Project of Ministry of Construction (No. 20031018)
文摘Researchers in several disciplines and fields agree that the image establishing has both perceptual and affecfive evaluations. The paper comparatively analyzes the image of landscapes in ancient water towns held by 1619 tourists after the investigations of Zbouzhuang and Tongli of Jiangsu Province. Based on the elements of the image of urban landscapes, the perceptual/cognitive image of tourist landscapes in water towns is developed including path, node, landmark, important courtyard, district and edge. Particularly the important courtyard plays the great role on the perceptive image of tourists, however, the perceptual/cognitive images of the district and the edge are obviously weak. Meanwhile, the finding showed that the affective images of tourist landscapes in Zhonzhuang differ with those of Tongli by the method of paired comparison. The main reason is that the affective images are influenced by the impressive scenery spots. Furthermore, the commercialization of streets and pollution of rivers are easy to be functioned negatively.
文摘In this essay I will explicate the gaze （le regard） and the ways in which it exceeds or transcends what we know as vision, the objectifying or representational power of the eyes. Building critically on Sartre, the gaze in Lacan and Merleau-Ponty is part of the technical apparatus used to describe the foundation, production, and reproduction of the subject. I will begin by discussing the role of visual perception in subject-formation in their respective work, differentiating between the Merleau-Pontian notion of the ＂gaze of the world,＂ i.e., the ways in which things cast their gaze upon us, and the Lacanian gaze as a manifestation of the scopic drive. Through an analysis of anamorphosis I will show （1） how the gaze evades the spectator, （2） what the relationship of the gaze is to the object petit a as the object of the scopic drive, and （3） how both Merleau-Ponty and Lacan require a movement that precedes and destabilizes the subject of intentional consciousness.
