The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his...The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his own image, which is naturally related to the CCP＇s leadership, and related to psychological expectations of the Chinese people in time. And the image-shaping process ofHua Guofeng has the obvious transitional characteristic and was a sense of its apotheosis, meanwhile it was a humanization too. The paradox and mix of the two gives us a great space of research.展开更多
The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting reve...The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting revealed certain noticeable features that could be ascribed to the forms of folk art. These are various objects with implied specific content or ornamented compositions. The aim of the research was to ascertain and distinguish graves characterised by specific planting features associated with plants, their layouts on graves. Analysis of the research results shows that two options form the peculiarities of grave planting： depiction of specific objects and ornamentation.We think that majority of the ornaments are made with the single purpose of decoration, and do not associate with symbolic meanings. During this research the graves decorated with planted symbolic objects and ornaments were distinguished. This phenomenon becomes more and more popular in cemeteries of Siauliai city in Lithuania.展开更多
The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings wer...The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.展开更多
Creative nonfiction is coming of age, not simply as opposed to ficdon, but as respectable as good ficdon true to its name. Due attention should be drawn to this super-genre absorbing varied subject matter. This paper ...Creative nonfiction is coming of age, not simply as opposed to ficdon, but as respectable as good ficdon true to its name. Due attention should be drawn to this super-genre absorbing varied subject matter. This paper looks into creative nonfiction as a form of art with a let-its-hair-down attitude generally in line with the genre. Creative nonfiction is held to be a paradoxically generic term covering subcategories such as memoir, biography, autobiography, history, and journalism. Instead of being walled off from one another, these subcategories mix and match to build up a work of truth, or rather elusive truth, which might sound stranger than fiction. In addition to the imaginative mix and match to open up new possibilities for writing, felicity of style is another add-on to doing it well. Hence creative nonfiction is conceived as an adventure to wrap up a somewhat strange story in a serendipitous form as well as a felicitous language. Hopefully, this three- quarter profile of the genre will be able to offer a thin slice of the picture to the audience.展开更多
文摘The process ofHua Guofeng＇s image shows how political manipulates the literature and art, it is also a performance process of ideology. As Mao＇s successor, Hua Guofeng used the the model of god-man to copy-write his own image, which is naturally related to the CCP＇s leadership, and related to psychological expectations of the Chinese people in time. And the image-shaping process ofHua Guofeng has the obvious transitional characteristic and was a sense of its apotheosis, meanwhile it was a humanization too. The paradox and mix of the two gives us a great space of research.
文摘The issue of cemetery planting is not yet sufficiently studied in Lithuania. Cemetery is one of the sites where people could give way to their subjective comprehension of beauty. Analysis of the cemetery planting revealed certain noticeable features that could be ascribed to the forms of folk art. These are various objects with implied specific content or ornamented compositions. The aim of the research was to ascertain and distinguish graves characterised by specific planting features associated with plants, their layouts on graves. Analysis of the research results shows that two options form the peculiarities of grave planting： depiction of specific objects and ornamentation.We think that majority of the ornaments are made with the single purpose of decoration, and do not associate with symbolic meanings. During this research the graves decorated with planted symbolic objects and ornaments were distinguished. This phenomenon becomes more and more popular in cemeteries of Siauliai city in Lithuania.
文摘The purpose of this paper is to analyze the reception of Wagner＇s approaches to Greek antiquity by Greek musicologists and composers which took place at the first half of the 20th century. Wagner＇s such readings were parts of wider narrations of archeology and how Greeks perceived their past.This research is largely based on primary sources of that time; its arguments construct two levels of critique： （1） Admiration （the ＇proper＇ aesthetic examples are German models, as exemplified in Wagner＇s work）; and （2） ＂Hellenism＂ as a means to distancing from Wagner （The past of ancient Greece is still believed to be better understood by the Greeks）. The principal conclusions are： （1） Wagner＇s views were admired because Wagner＇s example （ancient culture） should also be an example for Greek composers; and （2） Wagner＇s views were judged on the grounds of： Ideology： the expression of the ＂soul＂; the theory of ＂historic continuity＂; the balance between music, poetry, and dance; Wagner gave superiority to music, modem Greeks （should） give a predominant role to language as a means of expression in an ancient drama, or achieve a balance among the three arts of music, poetry, and dance.
文摘Creative nonfiction is coming of age, not simply as opposed to ficdon, but as respectable as good ficdon true to its name. Due attention should be drawn to this super-genre absorbing varied subject matter. This paper looks into creative nonfiction as a form of art with a let-its-hair-down attitude generally in line with the genre. Creative nonfiction is held to be a paradoxically generic term covering subcategories such as memoir, biography, autobiography, history, and journalism. Instead of being walled off from one another, these subcategories mix and match to build up a work of truth, or rather elusive truth, which might sound stranger than fiction. In addition to the imaginative mix and match to open up new possibilities for writing, felicity of style is another add-on to doing it well. Hence creative nonfiction is conceived as an adventure to wrap up a somewhat strange story in a serendipitous form as well as a felicitous language. Hopefully, this three- quarter profile of the genre will be able to offer a thin slice of the picture to the audience.
