This paper focuses on a non-linear relationship between the course of one individual＇s life and its creative reshaping in the literary work of art as experienced in Julian Barnes＇s novel The Noise of Time. Contempla...This paper focuses on a non-linear relationship between the course of one individual＇s life and its creative reshaping in the literary work of art as experienced in Julian Barnes＇s novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life： how to put what one has experienced into words？ A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one＇s life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes＇ character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, ＂silence＂, and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood展开更多
As a part of the behavior function extension and the humanities characteristic, product is an entity performance that integrates the technique and culture. In the article, the inherent relation between technique and c...As a part of the behavior function extension and the humanities characteristic, product is an entity performance that integrates the technique and culture. In the article, the inherent relation between technique and culture of products is analyzed to reveal the cultural mode of product development from the view of human society development in industry design. These will not only contribute to analyze the relation between notional technique characteristics and humanity, but also help to study the products developed under the inter-relation between life and environment.展开更多
Bugs have long embodied that from which we seek protection. Whether a mild irritant （a ＂fly in the ointment＂）, a costly pest to gardeners （＂bug of W＂）, or a destructive force of Biblical proportions （a swarm ...Bugs have long embodied that from which we seek protection. Whether a mild irritant （a ＂fly in the ointment＂）, a costly pest to gardeners （＂bug of W＂）, or a destructive force of Biblical proportions （a swarm of locusts）, bugs are nature＇s warning of approaching death. This paper investigates the natura morta canvas during the Golden Age of Dutch art, focusing on how these symbols of natural evil work to enliven the visual rhetoric of the still-life as they invite spiritual contemplation. In religious-themed art, we intuitively recognize these morbid creatures as symbols of decay encroaching on domestic scenes filled with food and cut flowers. Emphasizing the short life of these perishables, bugs embody a classic tension and its dichotomous variations： the corporeal vs. the spiritual, earth vs. heaven, and sin vs. redemption. Though ostensibly a peripheral feature of the natura morta, bugs are a decidedly central motif that reflects the viewer＇s struggle with sin： Is it repellent, attractive, or repellently attractive？ This study will concern the visual rhetoric of flies, dragonflies, and bees in the works of Osias Beert, Ambrosius Bosschaert, and Georg Flegel, with an emphasis on the beasts of the devil as icons of Dutch art.展开更多
The objective of this paper is to demonstrate that the processual aspect of literary works of art deserves much more attention than it normally receives by readers, critics, and theorists. The most important reason fo...The objective of this paper is to demonstrate that the processual aspect of literary works of art deserves much more attention than it normally receives by readers, critics, and theorists. The most important reason for this is seen in the fact that texts since the advent of print culture have been disseminated and passed on in written form and that in the medium of writing the processual character of language is only insufficiently taken care of by a cultural convention of arranging and approaching the presented signs in an particular sequence. Whereas in an oral culture the dynamic processuality of a speech or recitation was directly experienced by the listeners, the spatial arrangement of signs in writing enables and even entices readers and critics to read this or that part of a written text in a sequence of their own making. What remains out of focus is that in doing so they miss the particular semantic profile and aesthetic character of the work as created by the author--a procedure particularly hurtful in the case of literary works of art. There is hope, however, that this will somewhat change by our moving towards a performance culture展开更多
Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties....Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties. He was interested in the convergence of social, cultural, and economic capital. The authors propose to focus on the cultural capital of both the qualitative characteristics of the state of society. The problem is that in the presence of cultural capital as a funded system of values in the form of works of art and science, society degrades morally. Any cultural capital based on traditional religious values. This does not mean the broadcasting of religious themes in works of art, although it excludes, but rather a philosophical position of artists and researchers, through which the public receives the interpretation of events, their assessment of a certain value-regulatory system of coordinates. This element is the spiritual capital of the company and is a fundamental element of cultural capital. Qualitative state of society, its morality depends on the amount of spiritual capital, which he occupies in the field of cultural capital. A striking example of how the degradation and spiritual revival of capital in society can serve as the processes that took place during the last century.展开更多
文摘This paper focuses on a non-linear relationship between the course of one individual＇s life and its creative reshaping in the literary work of art as experienced in Julian Barnes＇s novel The Noise of Time. Contemplating a creative process of writing, the author seems to insist on a symbiosis between art and life. Writing about Shostakovich, he goes on challenging aWs ability to deliver a clear message about life： how to put what one has experienced into words？ A creative dialogue thus established between a non-speaking, extra-linguistic, and unique self and its verbal representation in literature is built upon a relational nature of the said and the not-said. Eloquent silence is employed to transpose one＇s life experience into the realm of verbal represenation. Focusing on the limits of verbal representation, Barnes＇ character in The Noise of Time similarly strives to grasp a meaning of the relationship among language, ＂silence＂, and liberation from the self. Refiguring silence as one of the most valuable narrative devices, the text challenges the illusory nature of historical time, of historical places, and of selfhood
文摘As a part of the behavior function extension and the humanities characteristic, product is an entity performance that integrates the technique and culture. In the article, the inherent relation between technique and culture of products is analyzed to reveal the cultural mode of product development from the view of human society development in industry design. These will not only contribute to analyze the relation between notional technique characteristics and humanity, but also help to study the products developed under the inter-relation between life and environment.
文摘Bugs have long embodied that from which we seek protection. Whether a mild irritant （a ＂fly in the ointment＂）, a costly pest to gardeners （＂bug of W＂）, or a destructive force of Biblical proportions （a swarm of locusts）, bugs are nature＇s warning of approaching death. This paper investigates the natura morta canvas during the Golden Age of Dutch art, focusing on how these symbols of natural evil work to enliven the visual rhetoric of the still-life as they invite spiritual contemplation. In religious-themed art, we intuitively recognize these morbid creatures as symbols of decay encroaching on domestic scenes filled with food and cut flowers. Emphasizing the short life of these perishables, bugs embody a classic tension and its dichotomous variations： the corporeal vs. the spiritual, earth vs. heaven, and sin vs. redemption. Though ostensibly a peripheral feature of the natura morta, bugs are a decidedly central motif that reflects the viewer＇s struggle with sin： Is it repellent, attractive, or repellently attractive？ This study will concern the visual rhetoric of flies, dragonflies, and bees in the works of Osias Beert, Ambrosius Bosschaert, and Georg Flegel, with an emphasis on the beasts of the devil as icons of Dutch art.
文摘The objective of this paper is to demonstrate that the processual aspect of literary works of art deserves much more attention than it normally receives by readers, critics, and theorists. The most important reason for this is seen in the fact that texts since the advent of print culture have been disseminated and passed on in written form and that in the medium of writing the processual character of language is only insufficiently taken care of by a cultural convention of arranging and approaching the presented signs in an particular sequence. Whereas in an oral culture the dynamic processuality of a speech or recitation was directly experienced by the listeners, the spatial arrangement of signs in writing enables and even entices readers and critics to read this or that part of a written text in a sequence of their own making. What remains out of focus is that in doing so they miss the particular semantic profile and aesthetic character of the work as created by the author--a procedure particularly hurtful in the case of literary works of art. There is hope, however, that this will somewhat change by our moving towards a performance culture
文摘Cultural capital is usually regarded as a mechanism of influence on personality. Coleman contributed to this study largely, although Bourdieu introduced the concept of a theoretical understanding of capital varieties. He was interested in the convergence of social, cultural, and economic capital. The authors propose to focus on the cultural capital of both the qualitative characteristics of the state of society. The problem is that in the presence of cultural capital as a funded system of values in the form of works of art and science, society degrades morally. Any cultural capital based on traditional religious values. This does not mean the broadcasting of religious themes in works of art, although it excludes, but rather a philosophical position of artists and researchers, through which the public receives the interpretation of events, their assessment of a certain value-regulatory system of coordinates. This element is the spiritual capital of the company and is a fundamental element of cultural capital. Qualitative state of society, its morality depends on the amount of spiritual capital, which he occupies in the field of cultural capital. A striking example of how the degradation and spiritual revival of capital in society can serve as the processes that took place during the last century.
