The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figur...The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.展开更多
In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing ...In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing Marcel Proust＇s work, enumerates a series of issues that strengthen Schopenhauer＇s arguments. For Grimaldi, the writer explains the literary character of love in its work. Through the analysis of four films, from different cinematography, this work intends to explore the issue of the representation of love in the art of film. In an attempt to understand how film uses its formal and discursive resources to present or represent this feeling, this paper analyses films chosen on the basis of how they tell their love stories. Beginning with Gertrud whose motto, Omnia Love says it all. In The Woman Next Door, Truffaut reveals the paradox of love and pain. Wings of Desire speaks of love and redemption. More recently, Kiarostami offered his Certified Copy, a film that asks whether a copy can produce in us the same thrill of an original. If love is an invention of literature, this paper seeks to understand how such an invention is born, and what it consists in modern and contemporary cinema.展开更多
This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd （money-making） and its links with the notion of oikonomia （economics）, outlining a fun...This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd （money-making） and its links with the notion of oikonomia （economics）, outlining a fundamental division between natural and unnatural art of money-making. The two different arts of money-making are based on two very different psychological attitudes： in the first case, desire is channeled, managed, and organized by practical wisdom with a view to a further end; in the second case, desire is an end unto itself, insatiable, boundless and contrary to the commands of practical wisdom. Only in the first case there is a ＂true wealth＂, that is a wealth oriented toward a good life that constitutes the end （telos） and the limit （peras） of the wealth itself. The conclusion is that, for the Stagirite, wealth is not an evil, nor, in itself, is the pursuit of wealth, that is, the art of money-making, because if it is rightly organized and oriented in function of the end, it constitutes the conditio sine qua non of a life that is good, ordered and happy for the individual and for the city展开更多
Climate change has been considered as the most paramount global environmental problem and the biggest externality throughout the history of human development. Accordingly, the world is facing unprecedented technologic...Climate change has been considered as the most paramount global environmental problem and the biggest externality throughout the history of human development. Accordingly, the world is facing unprecedented technological innovation and collaborative demands to deal with climate change. In the 2015 Paris Agreement, a long-term vision of technology development and transfer implementation was proposed, and policy and financial support for technological innovation in the area of climate change was advocated. These terms aim to enable developing countries to acquire the necessary technology in the early stage of the technology cycle to address climate change challenge. However, the traditional technological innovation and cooperation mode based on industrial civilization can hardly meet the technical demands of global climate protection. To ensure the continuous development and deployment of technology in a required scale and pace, a new global technical cooperation system is proposed to develop based on the philosophy of ecological civilization. The core contents of this system are supposed be as follows:to implement all-win cooperation targets, adhering to cooperation principles of Eco-man, adopt cooperation content that reflects synergy, pursue cooperation based on mutual trust, encourage participation of multiple actors, and promote sharing of cooperative outputs.展开更多
The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial ext...The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots （1533）, by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung＇s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.展开更多
Eros and Thanatos are the forces of life and death. The Ancient Greek Philosophers never showed the two gods together. Nevertheless, in the main myths related to the netherworld such as those of Orpheus or Persephone,...Eros and Thanatos are the forces of life and death. The Ancient Greek Philosophers never showed the two gods together. Nevertheless, in the main myths related to the netherworld such as those of Orpheus or Persephone, the two gods are in a continuous fight which has determined the human condition until nowadays. The author wishes in this paper to examine how the Orpheus＇ myth related to the duality Eros and Thanatos is treated in Theo Angelopoulos＇ world and especially how it appears in Ulysses＇ Gaze （1995） and Trilogy： The Weeping Meadow （2004） and Dust of Time （2008）. In this last Angelopoulos＇ Trilogy, we will search the unfolds of the love story of two young people started in Odessa in 1918 and finished by the death of the woman at the end of the century, under the lens of the duality Eros and Thanatos as literal and metaphorical qualities. The historical and personal adventures of the two characters represent a daedal itinerary from East to West, which offers multiple levels of reading of the filmic texts. A comparative approach with myth, literature, and historical research will demonstrate the richness of artistic expression and a profound relationship of Angelopoulos＇ thought with the formulaic myths he introduces in his filmic work.展开更多
In the aftermath of the First World War, various compositions emerged that explored the phenomenon of the modem city by translating the clamorous sounds of urban environments and reflecting them artistically in the me...In the aftermath of the First World War, various compositions emerged that explored the phenomenon of the modem city by translating the clamorous sounds of urban environments and reflecting them artistically in the medium of music. With the rendering of poetic and esoteric moods unrelated to practical life considered outdated, musical preoccupation with modem architecture mostly concemed social aspects, such as people＇s circumstances, their emotional rootedness to bygone conditions and the search for orientation in an environment characterized by technology. There is a parallel here with contemporary architectural debates in which tension between modernism and traditionalism also played a key role.展开更多
文摘The paper will focus on communication through the figures of discourse. The problem of the entanglement of the visual and the semantic is discussed extensively by lean-Francois Lyotard, in his notable Discourse, Figure, in relation to the perception and representation of space and the role and form of the sign. According to this philosopher, the figure dominates the communication process by deconstructing the text. Both the topography of the figure and art is the result of repression processes and the subsequent discharge of libidinal energy. Art in particular is a formalism of the death drive, according to Lyotard. The figure of ＂the mobled queen＂, the expression of a possible slip of the tongue in Hamlet, becomes a symbol of the distorted relationship of the visual, the semantic, the ethical, and the critical role of this in art and communication. In addition to Lyotard＇s model, the possible figures of globalization will be discussed in relation to Peter Sloterdik＇s Globes. Spheres II.
文摘In The Metaphysics of Love, Schopenhauer argues that love is a literary invention. For the philosopher, this feeling was a creation of men to mask the real desire. On the other hand, Nicolas Grimaldi, while analysing Marcel Proust＇s work, enumerates a series of issues that strengthen Schopenhauer＇s arguments. For Grimaldi, the writer explains the literary character of love in its work. Through the analysis of four films, from different cinematography, this work intends to explore the issue of the representation of love in the art of film. In an attempt to understand how film uses its formal and discursive resources to present or represent this feeling, this paper analyses films chosen on the basis of how they tell their love stories. Beginning with Gertrud whose motto, Omnia Love says it all. In The Woman Next Door, Truffaut reveals the paradox of love and pain. Wings of Desire speaks of love and redemption. More recently, Kiarostami offered his Certified Copy, a film that asks whether a copy can produce in us the same thrill of an original. If love is an invention of literature, this paper seeks to understand how such an invention is born, and what it consists in modern and contemporary cinema.
文摘This paper aims, first of all, to examine the two fundamental treatments of the complex and very broad notion of chrematistikd （money-making） and its links with the notion of oikonomia （economics）, outlining a fundamental division between natural and unnatural art of money-making. The two different arts of money-making are based on two very different psychological attitudes： in the first case, desire is channeled, managed, and organized by practical wisdom with a view to a further end; in the second case, desire is an end unto itself, insatiable, boundless and contrary to the commands of practical wisdom. Only in the first case there is a ＂true wealth＂, that is a wealth oriented toward a good life that constitutes the end （telos） and the limit （peras） of the wealth itself. The conclusion is that, for the Stagirite, wealth is not an evil, nor, in itself, is the pursuit of wealth, that is, the art of money-making, because if it is rightly organized and oriented in function of the end, it constitutes the conditio sine qua non of a life that is good, ordered and happy for the individual and for the city
基金supported by special funds of Ministry of Science and Technologyby a ministerial research project of China Law Society(Grant Number:CLS(2016)Y21)
文摘Climate change has been considered as the most paramount global environmental problem and the biggest externality throughout the history of human development. Accordingly, the world is facing unprecedented technological innovation and collaborative demands to deal with climate change. In the 2015 Paris Agreement, a long-term vision of technology development and transfer implementation was proposed, and policy and financial support for technological innovation in the area of climate change was advocated. These terms aim to enable developing countries to acquire the necessary technology in the early stage of the technology cycle to address climate change challenge. However, the traditional technological innovation and cooperation mode based on industrial civilization can hardly meet the technical demands of global climate protection. To ensure the continuous development and deployment of technology in a required scale and pace, a new global technical cooperation system is proposed to develop based on the philosophy of ecological civilization. The core contents of this system are supposed be as follows:to implement all-win cooperation targets, adhering to cooperation principles of Eco-man, adopt cooperation content that reflects synergy, pursue cooperation based on mutual trust, encourage participation of multiple actors, and promote sharing of cooperative outputs.
文摘The 16th-century Protestant Reformation shattered the foundations of faith and art. As traditional theology was both besieged and defended, art had to adapt. Of course, a new theology needed new kinds of pictorial extrapolations. But truly, the most interesting change was hidden in plain sight. Subjects that may have looked familiar were in fact utterly new, because subversive ideas and contexts uprooted older meanings. The painting Madonna with Parrots （1533）, by Hans Baldung Grien demoted the chaste protectress by transforming her into a flawed, even dangerous, human mother. In the painting, an oddly sultry Virgin shows off her breast, her shoulder, and her chest as a parrot nibbles her neck. The complexities of Baldung＇s painting underpin debates about the status of the Virgin during the Reformation and the freedom of an artist to tamper with sacred subject matter.
文摘Eros and Thanatos are the forces of life and death. The Ancient Greek Philosophers never showed the two gods together. Nevertheless, in the main myths related to the netherworld such as those of Orpheus or Persephone, the two gods are in a continuous fight which has determined the human condition until nowadays. The author wishes in this paper to examine how the Orpheus＇ myth related to the duality Eros and Thanatos is treated in Theo Angelopoulos＇ world and especially how it appears in Ulysses＇ Gaze （1995） and Trilogy： The Weeping Meadow （2004） and Dust of Time （2008）. In this last Angelopoulos＇ Trilogy, we will search the unfolds of the love story of two young people started in Odessa in 1918 and finished by the death of the woman at the end of the century, under the lens of the duality Eros and Thanatos as literal and metaphorical qualities. The historical and personal adventures of the two characters represent a daedal itinerary from East to West, which offers multiple levels of reading of the filmic texts. A comparative approach with myth, literature, and historical research will demonstrate the richness of artistic expression and a profound relationship of Angelopoulos＇ thought with the formulaic myths he introduces in his filmic work.
文摘In the aftermath of the First World War, various compositions emerged that explored the phenomenon of the modem city by translating the clamorous sounds of urban environments and reflecting them artistically in the medium of music. With the rendering of poetic and esoteric moods unrelated to practical life considered outdated, musical preoccupation with modem architecture mostly concemed social aspects, such as people＇s circumstances, their emotional rootedness to bygone conditions and the search for orientation in an environment characterized by technology. There is a parallel here with contemporary architectural debates in which tension between modernism and traditionalism also played a key role.
