桑博(Sambo),是俄罗斯的一种格斗术,来自俄罗斯语"SAMozashchita Bez Oruzhiya",意思就是"无器械自卫术",是一门既传统又现代的武术,同样也是一门强调用于防身自卫的武术。从基本原理上讲,桑博的风格属于俄罗斯传...桑博(Sambo),是俄罗斯的一种格斗术,来自俄罗斯语"SAMozashchita Bez Oruzhiya",意思就是"无器械自卫术",是一门既传统又现代的武术,同样也是一门强调用于防身自卫的武术。从基本原理上讲,桑博的风格属于俄罗斯传统摔跤。桑博虽然作为俄罗斯重要的传统武术组成体系之一,但是一直到前苏联时期,它的体系才正式形成。经过不断的发展,桑搏现在正越来越多地综合其他外来的技术,向一门综合武术体系的方向发展。展开更多
The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at ...The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.展开更多
Arguably, Africa comparatively remains a huge account for narratives within the context of repository of misery and violence in the 21 st-century, an attempt to political development has posed an irresistible challeng...Arguably, Africa comparatively remains a huge account for narratives within the context of repository of misery and violence in the 21 st-century, an attempt to political development has posed an irresistible challenge and a disturbing necessity for Mia Couto in Voices Made Night （1990） and Bessie Head in Tales of Tenderness and Power （1989）. The position of Couto as a white Mozambican writer and Head as an exiled coloured South African writer, living in her adopted country of Botswana, provides them with privileged neutrality from which to view the effect of the admixture of grinding poverty and violence as they ravage the landscapes of these countries. While Couto does not fail to incorporate the significance of power struggle between FRELIMO （Front for the Liberation of Mozambique） and RENAMO （Mozambique National Resistance） in the ~＇oices Made Night, Head＇s articulation of the complex manipulation of power becomes a resource for constructing a discourse of nationalism in Tales of Tenderness and Power. The paper intends to focus on the correlation between power and economic development in these anthologies. The paper will further examine how political power impacts on the socio-economic well being of the local folks in the Couto＇s Mozambique and Head＇s South Africa.展开更多
文摘桑博(Sambo),是俄罗斯的一种格斗术,来自俄罗斯语"SAMozashchita Bez Oruzhiya",意思就是"无器械自卫术",是一门既传统又现代的武术,同样也是一门强调用于防身自卫的武术。从基本原理上讲,桑博的风格属于俄罗斯传统摔跤。桑博虽然作为俄罗斯重要的传统武术组成体系之一,但是一直到前苏联时期,它的体系才正式形成。经过不断的发展,桑搏现在正越来越多地综合其他外来的技术,向一门综合武术体系的方向发展。
文摘The Fort Worth （Texas） exhibition/publication Poussin： The Early Years in Rome： The Origins of French Classicism （1988） proved to be a seminal event in Poussin scholarship. Over 200 works were put on display at the Kimbell Art Museum that revealed the formative years in the French painter＇s works. The drawings and paintings confirmed Poussin as the leading classicist in 17th century French art and expanded our appreciation of the flexibility of the artist to illustrate mythological narratives. Previous positions on the artist such as Anthony Blunt＇s, who viewed the painter as a strict classicist without a major interest in color, are now reevaluated after the Fort Worth show. The influence of the Venetian school, especially the work of Titian, emerged stronger into Poussin＇s oeuvre. It was under the classicist umbrella that the romantic verse of Ovid and the sensual color of Titian became forged into the pictures of Roman mythology. The leading source of inspiration for this work would be Ovid＇s Metamorphoses where figures change into flowers made timeless by the painter＇s brush. Just as the poet varied the structure of his narrative presentation, so too did the painter expand his approach to depicting scenes of change in a variety of formats. A key work for Poussin in these stories of change would be the Kingdom of Flora （1631） where Ovidian tales are posed as an eternal spring where the goddess distributes the flowers of the collective narrative in an olive green chitin. This paper will contribute to the position of viewing Poussin＇s art under a wider vision of classicism where flexible narrative design and sensuous color fit the mission to make art noble and timeless.
文摘Arguably, Africa comparatively remains a huge account for narratives within the context of repository of misery and violence in the 21 st-century, an attempt to political development has posed an irresistible challenge and a disturbing necessity for Mia Couto in Voices Made Night （1990） and Bessie Head in Tales of Tenderness and Power （1989）. The position of Couto as a white Mozambican writer and Head as an exiled coloured South African writer, living in her adopted country of Botswana, provides them with privileged neutrality from which to view the effect of the admixture of grinding poverty and violence as they ravage the landscapes of these countries. While Couto does not fail to incorporate the significance of power struggle between FRELIMO （Front for the Liberation of Mozambique） and RENAMO （Mozambique National Resistance） in the ~＇oices Made Night, Head＇s articulation of the complex manipulation of power becomes a resource for constructing a discourse of nationalism in Tales of Tenderness and Power. The paper intends to focus on the correlation between power and economic development in these anthologies. The paper will further examine how political power impacts on the socio-economic well being of the local folks in the Couto＇s Mozambique and Head＇s South Africa.
