皮耶特·奥多夫(Piet Oudolf)作为多年生植物运动的代表人物,其设计的花境在达到动态景观效果的同时,整体景观表现成自然野性。通过文献查阅,以美国高线公园(High Line Park)、芝加哥千禧公园(Millennium Park)特色花境为案例,对奥...皮耶特·奥多夫(Piet Oudolf)作为多年生植物运动的代表人物,其设计的花境在达到动态景观效果的同时,整体景观表现成自然野性。通过文献查阅,以美国高线公园(High Line Park)、芝加哥千禧公园(Millennium Park)特色花境为案例,对奥多夫的花境设计从平面、竖向、材料、色彩等方面进行分析,解析其自然野性式花境风格的设计模式,以期为我国花境设计提供借鉴。展开更多
The aim of this paper is the analysis of the supernatural elements in Kipling's "The Mark on The Beast" (1890) Conan Doyle's "Lot No. 249" (1892), and Wells' "The Truth about Peycraft" (1903) conceived ...The aim of this paper is the analysis of the supernatural elements in Kipling's "The Mark on The Beast" (1890) Conan Doyle's "Lot No. 249" (1892), and Wells' "The Truth about Peycraft" (1903) conceived of as the expression of the revitalisation of the Gothic imagery which, through the short story, serve to voice and exorcise late Victorian crisis, de-Constructing late Victorian identity. First, the complex nature of late Victorian Britain crisis will be deepened. Second, the short story will be focused on as an independent genre from the novel which mostly epitomized Fin de Si6cle literary fantastic discourse. Finally, the short stories will be investigated as textual examples of what Brantlinger (1988) defined as Imperial Gothic, instrumental in voicing and exorcising the pressures of late Victorian crisis展开更多
文摘皮耶特·奥多夫(Piet Oudolf)作为多年生植物运动的代表人物,其设计的花境在达到动态景观效果的同时,整体景观表现成自然野性。通过文献查阅,以美国高线公园(High Line Park)、芝加哥千禧公园(Millennium Park)特色花境为案例,对奥多夫的花境设计从平面、竖向、材料、色彩等方面进行分析,解析其自然野性式花境风格的设计模式,以期为我国花境设计提供借鉴。
文摘The aim of this paper is the analysis of the supernatural elements in Kipling's "The Mark on The Beast" (1890) Conan Doyle's "Lot No. 249" (1892), and Wells' "The Truth about Peycraft" (1903) conceived of as the expression of the revitalisation of the Gothic imagery which, through the short story, serve to voice and exorcise late Victorian crisis, de-Constructing late Victorian identity. First, the complex nature of late Victorian Britain crisis will be deepened. Second, the short story will be focused on as an independent genre from the novel which mostly epitomized Fin de Si6cle literary fantastic discourse. Finally, the short stories will be investigated as textual examples of what Brantlinger (1988) defined as Imperial Gothic, instrumental in voicing and exorcising the pressures of late Victorian crisis