分析服装设计中语言文化艺术及影响设计

服装设计随着社会文化不断的发展而日趋成熟,人们对物质生活和文化生活的追求使得服装设计更加重要。随着人们对服装的品味水准和水平要求的提高,服装设计领域涉及的范围越来越广泛,服装设计中的语言文化艺术的产生逐步推动服装设计的发展。对服装设计语言文化艺术的领悟,是服装设计高品位和高水准的社会文化的方向。提高对服装设计中语言文化艺术的理解和感悟,使服装设计语言文化艺术与社会文化相接轨,与服装设计品味相沟通,是今后服装设计的努力方向,那么影响服装品味设计的语言文化艺术也就显得越来越重要。

On the teaching content of Language and Culture

To cultivate English majors＇ culture awareness and improve their English integrated competence, this paper clarifies the reasons and the choice of the content for the teaching of Language and Culture. The results of the teaching and the investigation conducted by the author show that the choice of the teaching materials and the topics for the class must be included in the teaching plan. Besides, this paper also probed into the most difficult topic, the easiest topic, the topics that need to be explained more and the topics that need to be explained less in class; and the similarity and differences of the teaching contents for students in different grades are also analyzed. In the end, proper sources of the comparison of English and Chinese languages and cultures are revealed in order to enlarge students＇ knowledge and improve their competence in using English.

The Processualities of Literature

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

“无笔无墨”

陈绶祥在《笔墨——中华文化中的艺术语言体系》一文中说：关于笔墨之有无的问题，我们该谈到一个常识：从无规矩到有规矩到大规矩，从自在到不自在到大自在为三个层次。第一个和第三个层次都可称之为“无”。但我不同意吴冠中老先生作为一个画家说“笔墨等于零”，我赞成的是“无笔无墨”。这个“无”不是“没”有，是从不自在过渡到大自在，如郑板桥所说“画到生时是熟时”。