This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques...This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco＇s （1994） work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco＇s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains （and definitely makes such a difference possible）, is the time factor. The delay （lingering） part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience.展开更多
Peace is a key concept in Jewish tradition with an extensive history. It is also an extremely broad concept. As former deputy to the president of Israel＇s Supreme Court, Chief Justice Prof. M. Elon, stated at a lectu...Peace is a key concept in Jewish tradition with an extensive history. It is also an extremely broad concept. As former deputy to the president of Israel＇s Supreme Court, Chief Justice Prof. M. Elon, stated at a lecture he delivered at a 2004 conference at Haifa University, that peace is equivalent to liberty, justice, and purpose of this chapter is to discuss various attitudes and ideals concerning peace that are reflected in a sources from the Hebrew Bible and are complemented by other Jewish sources equity. The selection of展开更多
Haiguo Tuzhi （Illustrated Treatise on the Maritime Kingdoms） is one of the earliest gazetteers in early modern China. In order to change the Chinese view of the outside world, scholax-official Wei Yuma （1794-1857）...Haiguo Tuzhi （Illustrated Treatise on the Maritime Kingdoms） is one of the earliest gazetteers in early modern China. In order to change the Chinese view of the outside world, scholax-official Wei Yuma （1794-1857） mad his contemporaries compiled this gazetteer in the middle of the 19th century. Haiguo Tuzhi contains numerous geographical, historical, mad political details covering both the western and eastern hemispheres, which derived from the known information on Western researches and Chinese macient texts from the Tang Dynasty （618-907） to Ming Dynasty （1368-1644）. Haiguo Tuzhi is a significmat work in China, which affected the modernization movement around East Asia, such as Meiji Restoration in Japma. There axe two juan, or scrolls concerning Turkey （the Ottoman Empire）, called southern Duluji （Turkey） mad northern Tuluji （Turkey）, in Haiguo Tuzhi＇s ＂Southwest Ocean＂ part and ＂Great West Ocema＂ part covering the origin of Turkish state, the geographical location and circumstance of Turkey, the distribution of ethnic groups throughout this country, the relationship between Turkey and European countries, the religious situation, mad the policies carried out by Turkish monarchs. Although Haguo Tuzhi is a pmaoramic opus which focuses on the whole outline of countries, it also documents plenty details about Turkish clothing, dietary habits, and characters of people. Haguo Tuzhi provides a chmace to learn the Chinese impressions on Turkish state and people in 19th century展开更多
The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein...The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.展开更多
文摘This paper on Umberto Eco＇s contribution to the narration process, tries to identify the mainstream of modem studies of the text. I have tried to separate it as an entity, which together with other textual techniques and strategies shall create applicable theoretical messages towards an artistic creation. Eco＇s （1994） work itself, gives an opportunity to exemplify his theoretical claims. Using my examples, I have tried to show how a work of art can be rendered narrative, a subject to contemporary techniques and cooperativeness with the reader. One of the main issues I have explained is the time factor, seen from the linguistic and semiotic prospective. I consider that Eco＇s treatment of the relation between reality and fiction is of a semiotic nature. One of the main elements it contains （and definitely makes such a difference possible）, is the time factor. The delay （lingering） part treats works of art separately, and gives one of the ways to render artistic works readable, worth having an aesthetic value, in their way to transmitting a message to the audience.
文摘Peace is a key concept in Jewish tradition with an extensive history. It is also an extremely broad concept. As former deputy to the president of Israel＇s Supreme Court, Chief Justice Prof. M. Elon, stated at a lecture he delivered at a 2004 conference at Haifa University, that peace is equivalent to liberty, justice, and purpose of this chapter is to discuss various attitudes and ideals concerning peace that are reflected in a sources from the Hebrew Bible and are complemented by other Jewish sources equity. The selection of
文摘Haiguo Tuzhi （Illustrated Treatise on the Maritime Kingdoms） is one of the earliest gazetteers in early modern China. In order to change the Chinese view of the outside world, scholax-official Wei Yuma （1794-1857） mad his contemporaries compiled this gazetteer in the middle of the 19th century. Haiguo Tuzhi contains numerous geographical, historical, mad political details covering both the western and eastern hemispheres, which derived from the known information on Western researches and Chinese macient texts from the Tang Dynasty （618-907） to Ming Dynasty （1368-1644）. Haiguo Tuzhi is a significmat work in China, which affected the modernization movement around East Asia, such as Meiji Restoration in Japma. There axe two juan, or scrolls concerning Turkey （the Ottoman Empire）, called southern Duluji （Turkey） mad northern Tuluji （Turkey）, in Haiguo Tuzhi＇s ＂Southwest Ocean＂ part and ＂Great West Ocema＂ part covering the origin of Turkish state, the geographical location and circumstance of Turkey, the distribution of ethnic groups throughout this country, the relationship between Turkey and European countries, the religious situation, mad the policies carried out by Turkish monarchs. Although Haguo Tuzhi is a pmaoramic opus which focuses on the whole outline of countries, it also documents plenty details about Turkish clothing, dietary habits, and characters of people. Haguo Tuzhi provides a chmace to learn the Chinese impressions on Turkish state and people in 19th century
文摘The expression ＂My Hideous Progeny＂ is widely known to be taken from Mary Shelley＇s preface to the revised edition of Frankenstein （1831）, in which she wrote, of the novel itself and of its creature, Frankenstein＇s monster. This paper argues that, if the monster is seen not only as the product of Frankenstein＇s workshop of filthy creation, but also as the child from whom Frankenstein as parent recoils in horror; the works of Kiki Smith, Abigail Lane, and Cindy Sherman, created out of body parts, may also be considered hideous progenies of female creativity. Like Mary Shelley＇s gothic novel, the body, in the work of these three women artists, is not only the raw material of their art, but also the screen on which we project our bad dreams. Through the art of Smith, Lane, and Sherman, we can certainly feel the shudder of body horror that ripples through the Gothic canon from Frankenstein, whose manmade monster＇s yellow skin barely covered the work of muscles and arteries beneath. Departing from their artistic examples, we will be able to perceive how the monstrous feminine in contemporary art can be grounded in a very famous hallmark work of Gothic literature.
