An Overview of the Achievements of Modern Research on the Flying Shadow Pavilion Pictorial

The current academic research on the Dian Shi Zhai Pictorial founded in 1884 has been perfected,but there is very little research on the Flying Shadow Pavilion Pictorial,which can be said to be derived from Dian Shi Zhai Pictorial terms of both content and form,and which was founded by the Haiist painter Wu Youru in 1890 in order to reward the increasing number of admirers,but it is still in the initial stage.Flying Shadow Pavilion Pictorial consisted of four parts:pictures of ladies in Shanghai costumes,news about current affairs,pictures of animals,and compilations of women,each of which was accompanied by the then popular notebooks,which were popular at the time among the then readers because of the matching of pictures with text and the mixing of narratives and discussions.This paper takes Flying Shadow Pavilion Pictorial as the main object,summarizes the existing literature about Flying Shadow Pavilion Pictorial,points out the deficiencies of the current research on this basis,and points out the development trend of Flying Shadow Pavilion Pictorial in the future research.

A Study on the Titles of Dianshizhai Pictorial

With its unique title art,Dianshizhai Pictorial has become an important document for the study of the intersection of news communication and traditional Chinese culture in the Late Qing Dynasty.This study explores the formation mechanism,artistic features,and social influence of the title,from historical allusion,report content,stylistic structure to the appearance of sound and rhyme.Through this research,we hope to reveal the unique charm of the Dianshizhai Pictorial title and its important position in the history of journalism and communication,and to provide a new perspective for understanding the changes of Chinese traditional culture in the process of modernization.

Moral Perspective as Depicted in the Archetypes on Divine-Human Perspective of Dianshizhai Pictorial

This article examines the archetypes related to the divine-human perspective in the Dianshizhai Pictorial and uses the basic theory of“Myth-Archetype Criticism”to analyze the concepts of moral perspective and the view of cause and effect reflected in the text.It summarizes the interactive modes and various archetypes of cause and effect in three contexts:gods to humans,humans to gods,and humans to humans,explores the social reality and the relevant views of moral perspective and causality reflected in the illustrated magazine,and reveals the archetype foundation of the narrative of moral perspective retribution in Dianshizhai Pictorial in the three dimensions of psychology,literature,and society.

A New Inquiry Into the Contents of the Late Qing Dynasty Pictorial News Publication-The Core of “Entertainment Life” in Dianshizhai Pictorial

After the opening of ports in the late Qing Dynasty,Western culture was introduced into China.The local entertainment life presented the phenomenon of the coexistence of the East and the West.A large number of folk entertainment activities were recorded in the Dianshizhai Pictorial which have the function of cultural choice and value dissemination as well as current affairs.This research attempts to use literary analysis and case study to collate the entertainment life in the Dianshizhai Pictorial,combing the characteristics of the late Qing dynasty,and summarizing the value of entertainment in Dianshizhai Pictorial publishing.

The Pictorial Power of Language in e.e.Cummings'Poetry

e.e. Cummings'Poetry's theme is the cycle of life, and"black against white"could be indicating life death versus life. It shows that even though a leaf falling may be an indication of death, falling of leaves is an integral part of the whole life cycle of the tree. !blac may seem like a simple mess of words, but in reality is much more complex than that.

Magnetic resonance imaging for local complications of acute pancreatitis: A pictorial review

Acute pancreatitis is a common disease characterized by sudden upper abdominal pain and vomiting. Alcoholism and choledocholithiasis are the most common factors for this disease. The choice of treatment for acute pancreatitis might be affected by local complications, such as local hemorrhage in or around the pancreas, and peripancreatic infection or pseudoaneurysm. Diagnostic imaging modalities for acute pancreatitis have a significant role in confirming the diagnosis of the disease, helping detect the extent of pancreatic necrosis, and for diagnosing local complications. Magnetic resonance imaging (MRI) might be indicated in acute pancreatitis for detecting and characterizing local complications of acute pancreatitis that involve necrotic, hemorrhagic, infectious, vascular, and pseudocyst disorders. The general MRI sequences for pancreatitis require the combined use of T1-weighted, T2-weighted sequences, and magnetic resonance chol-angiopancreatography. For imaging of pancreatic necrosis, the combination of T1-weighted and T2-weighted findings with dynamic contrast-enhanced imaging gives a comprehensive evaluation of the extent of necrosis and full range of inflammatory extension. For imaging of infectious complications, dynamic contrast-enhanced examinations might help differentiate pancreatic cellulitis or abscesses, from pancreatic fluid collection or simple pseudocysts. For vascular abnormalities, the combination of cross-sectional pancreatic parenchyma imaging with MRA represents a single diagnostic modality for the full evaluation of peripancreatic artery and vein involvement, such as arterial pseudoaneurysms and venous thromboses. The purpose of this pictorial review is to examine the MRI appearances of various local complications of acute pancreatitis and to discuss the practical setup of MRI in local complications of acute pancreatitis.

Culturally adapted pictorial screening tool for autism spectrum disorder:A new approach

AIM To assess the performance of a newly designed,culturally adapted screening tool for autism spectrum disorder(ASD).METHODS Items for the screening tool were modeled from already documented checklists and diagnostic criteria for ASD.Each item in text was paired with a photograph that illustrated the written content,which was in the 2 main local languages.The final product had 21 items and was named the pictorial autism assessment schedule(PAAS).Performance of PAAS was tested on a clinical sample of 18-48 mo old children,diagnosis na?ve,presenting with developmental deficits.Mothers completed PAAS checklist.Based on clinical diagnosis,which was taken as the gold standard,children were later grouped into ASD(Group 1) and non-ASD developmental disorders(Group 2).Mothers of a control sample of typically developing children also completed PAAS(Group 3).RESULTS A total of 105 children(Group 1-45,Group 2-30,Group 3-30) participated in the study.Mean age of Group 1 and Group 2 were 36 and 40 mo respectively.Majority were male in all 3 groups.Performance of PAAS in discriminating between ASD and non-ASD developmental disorders was sensitivity 88.8%,specificity 60.7%,positive predictive value(PPV) 78.4%,negative predictive value(NPV) 77.2%,likelihood ratio(LR+) 2.26,and LR-0.18.Performance of PAAS in discriminating between ASD and typical development was sensitivity 88.0%,specificity 93.3%,PPV 95.2%,NPV 84.0%,LR+ 13.3 and LR- 0.12.The results indicated that that a positive result from PAAS was 2.26 times more likely to be found in a child with ASD than in a child with non-ASD developmental disorder.A positive result from PAAS was 13.3 times more likely to be found in a child with ASD than in a child with typical development.CONCLUSION PAAS is an effective tool in screening for ASD.Further study is indicated to evaluate the feasibility of using this instrument for community screening for ASD.

The Effect of Verbal Anchoring on the Processing of Advertising Pictorial Metaphors

Although investigating metaphors in advertising is gaining in popularity, there are still certain unresolved arguments, such as the interaction between elements of different modalities. This study,composed of three behavioral experiments, aims to identify how verbal anchoring(literal anchoring, metaphor anchoring and unrelated anchoring) influences the processing of pictorial metaphors in advertising, by observing the cognitive and affective indicators, advertising comprehension and advertising likeability. The results showed 1) that metaphors in pictorial modality were recognized more quickly than those in verbal modality, 2) that verbal anchoring facilitated participants ’ comprehending and appreciating of pictorial metaphors and 3) that literally-anchored metaphors with a moderate level of novelty yielded the most favorable cognitive responses. The study not only enriches the existing theoretical framework of multimodal metaphors in advertising, but also proposes an optimal match between pictorial metaphors and verbal elements, for advertisers and manufacturers to design effective multimodal advertisements.

Poetic and Pictorial Splendor-Expression of Traditional Chinese Literati in Chinese Architecture

The expression of traditional Chinese literati is based on connection, seeking emotion and harmony. With various forms, though, this style of expression shares the same value in some art forms, like traditional Chinese poetry, calligraphy and paintings, and Chinese architecture. Based on the commonalities of various forms of literature and art, this paper offered an insight into Chinese architecture in light of poetic and pictorial expression of traditional Chinese literati. In order to illuminate the corresponding connection between traditional Chinese poetry, calligraphy and paintings, and Chinese architecture, this paper discussed the expression of Chinese architecture corresponding to the essence of traditional Chinese poetry, calligraphy and paintings respectively from the perspective of philosophy, aesthetics, and culture study of Chinese architecture. Via analogous analysis, which includes the analogy between the emotion of architecture and the feelings in traditional poetry, the analogy between the order of architecture and the spirit of calligraphy, and the analogy between the artistic conception and the picturesque scene, the poetic and pictorial expression of Chinese architecture was clarified. This paper emphasized that Chinese architecture needs to jump out of the concrete image, eradicate the interdisciplinary boundaries, and stress the integration of arts and humanities in a higher level, to express Chinese architecture in a Chinese way. That means making Chinese architecture modern in forms and techniques, and traditional in spirit and artistic conception.

A Visual Cultural Study of Pictorial Weekly in the Republican Period

Peter Burke once said, using images as historical evidence could not only stand as proof of political events, economic trend, and social structure, but also as an illustration of the history of daily life, material culture, mental state, and physical body. Photography is the extension of human vision, the appearance of which has changed the way in which people see the world, molded the subject identity of modernity, and participated in the social construction of visual modernity. To witness the history is not the only purpose of studying on photograph-based pictorials in the republican period, for which it is more important to provide visual reference for the construction of China＇s modernization, and to witness the multiplicity, mobility, and inner-diversity of modernity.

On Artistic Dissemination of Image Text in Urban Media of Late Qing Dynasty: Taking Dian-shi Zhai Pictorial (1884-1898) as the Core Research Object

The Dian-shi Zhai Pictorial was founded under the conflict of new and old culture in the late Qing Dynasty.Based on China,it innovates and adjusts the characters and pictures in the pictorial.This pictorial perfectly integrates news and art in the form of artistic dissemination of pictures and texts,and adapts to the needs of the society for news and new knowledge at that time.At the same time,Wu Youru,the editor in chief and main painter of pictorial,reflected some problems in the artistic dissemination of pictures and texts.

The ＂Pictorial Turn＂ as Crisis and the Necessity of a Critique of Visual Culture

The ＂Pictorial＂ or ＂Iconic Turn＂ is a central issue in the contemporary theory of images and visual cultural studies. Should the theories concerning the ＂Iconic Turn＂ and formulated in the last 20 years by scholars such as Gottfried Boehm, William Mitchell, Hans Belting be taken as critical theories of crisis？ Is the currently experienced ＂turn towards images＂ （and their progressive rehabilitation after a long standing philosophical and theological rejection） a sign and symptom of some crisis of people＇s relation with images, language and, generally speaking, with the representation forms of reality？ The main hypothesis of this essay envisages two sets of problems： first, the analysis of the relation between the possible idea of turning point and the concept of crisis; secondly, the thorough investigation of the relation connecting the iconic turn to the project of ＂critical iconology＂ or ＂critique of visual culture,＂ as outlined by Hans Belting and William Mitchell. From the interpretation of the ＂Iconic Turn＂ as situation of crisis and aesthetic, anthropological, and epistemological transformation follows the need for the sciences of image to provide a ＂critical iconology＂ in order to be able to theoretically reformulate the ideological and political presuppositions of some dominant contemporary forms of visual representation.

Changes of Wearing,Eating,Housing,and Going Out:Discussion From Dian-shi Zhai Pictorial(1884-1898)

Dian-shi zhai Pictorial,originated in 1884,is the first pictorial of news and current affairs in China’s modern history.Its elegant and prevailing expression forms greatly broadened the audience range of the publication and became an important graphic material for studying the transformation of social life in the late Qing Dynasty of China.This paper mainly introduces the changes of social life in Shanghai in the late Qing Dynasty and provides a spacious research perspective for the above studies.

On Characters in Cities in the Late Qing Dynasty: Taking Dian-shi Zhai Pictorial (1884-1898) as the Core Research Object

Dian-shi Zhai Pictorial(1884-1898)is the earliest and most influential news pictorial in modern China,creating a new form with pictures and text.Taking Dian-shi Zhai Pictorial as the research object,this paper mainly studies how the pictorial uses words to shape the image of characters in cities,especially the image of women,and analyzes the shaping of urban characters’identity,personality,social status,and behavior in different news reports,so as to understand the image of urban characters and civil activities in the late Qing Dynasty.At the same time,the accurate use of words and the attitudes and values contained in pictorial have important reference significance for modern media.

A Pictorial Review

THE National People＇s Congress （NPC） and the National Committee of the Chinese Peo- ple＇s Political Consultative Conference （CPPCC） held their annual sessions in Beijing from March 5 to 15 and March 3 to 13, respectively. It was the third session of both the 12th NPC and the 12th CPPCC National Committee, which had started their five-year term in 2013. The NPC deputies are elected by people＇s con-gresses from China＇s provinces, autonomous regions and municipalities, and represent all Chinese people in making decisions on state affairs at the annual sessions.

子不语与晚清通俗画报话语转向--以《北京画报》为考察中心

从历史长时段看,知识阶层对普罗大众的“怪力乱神”之事多持宽容态度,文人墨客对于这种民风流俗时有推波助澜,晚清《点石斋画报》“因果报应”内容影响甚广,呈现出一种知识精英与普罗大众的集体狂欢场面,这种互动到了清末新政时期悄然变化。普通民众因迷信而愚昧,成为知识精英和政府官员的一个“常识性结论”。这一时期兴起的通俗画报刊登的“子不语”系列题材,借用舶来的“科学知识”为基准臧否迷信,为普通民众铺设一个新的开通世界,并借此来引导和重塑民众的日常生活。传统的“怪力乱神”图像言说和话语策略的转向,是晚清社会持改革态度的政府官员和知识精英集体心态的体现。

汉画像砖本体构建及其应用

汉画像砖具有丰富的中华文化基因。文章基于图像学三层次分析理论,以四川汉画像砖为例,分析并定义汉画像砖的核心概念、类、属性及约束条件等,使用Protégé完成对汉画像砖领域本体的构建和实例化展示,基于应用结果对汉画像砖本体进行检验和评估。

巾帼柔魂的革命唤醒——以晚清谭云波的“剑与头颅”母题画作为中心

晚清画报以图画叙事,以记录新闻、开通群智、启蒙科学为宗旨,但《时事画报》却以宣扬政治、鼓吹革命而迥异其趣。《时事画报》的编绘者以画笔为“刀枪戈戟”为革命呐喊助威,也加入同盟会、组织暗杀团直接介入革命。其中《时事画报》主要画师谭云波的“剑与头颅”母题画作最引人瞩目。该题材融合明清时期的“百美图”与“剑侠图”程式,以巾帼英雄形象表达驱除鞑虏的革命动员,是辛亥革命时期唤醒女性参与革命、号召女性实施暗杀的生动呈现。值得注意的是,谭云波笔下的“手提头颅”和“簪花骷髅”,在辛亥革命前后存在显著的语义转向。在革命成功之前,以“头颅”符号征召勇士们奋勇杀敌,满怀对胜利的期许;辛亥鼎革以后,民国初年政局混乱,在政治权利分配中被边缘化的革命志士,以“泪墨哀毫”写画“骷髅”符号,缅怀革命先烈,感伤生命的虚无。这些以女性和死亡来托喻“国家兴亡”的画作,均出自男性知识分子之手,意味着他们把妇女中性化,希冀妇女成为像男子一样的国民,“剑与头颅”中的女侠亦复如是;一方面女子命运被视作国家兴亡的象征,另一方面她们也积极投身到现代民族国家的淬炼和缔造中。因此,可以说在与忠烈、侠义等精神传统深度相连的“异代同感”之中,“她们”和“他们”共同迈向了平等、现代国民身份的实现和认同。