Novel Translation is an Art of Literary Re-creation——A Distinguished Art Feature in Chinese Version Tess of the D'urbervilles

Literary translation is the re-creation of the language art.To translate an English novel into Chinese one,translators need the skill of literature re-creation.Taking Zhang Guruo's translated version Tess of the D'urbervilles as an example,we perceive that translators have subjectivity and they should break the boundary between writing and translating.When a translator translates a piece of works,he must get rid of the constraint of the surface structures of the original works,and reproduces the flavor of the original novel.But the translators should try to show the original scenes in the original English novel to target readers.

On the Ethical Dimensions of Literary Criticism in the Realm of We Media

In the realm of We Media,literary criticism is not completely free and unrestricted during its continuous production process;instead,it should adhere to certain ethical norms.The ethical dimensions of literary criticism in We Media focus on fostering a fair relationship between criticism activities and text,society,and the audience in order to facilitate healthy and orderly criticism that yields positive outcomes.The ethics of literary criticism in We Media can be categorized into aesthetic ethics,cultural ethics,political ethics,and media ethics within its internal structure,all of which ultimately converge into the realm of art production ethics.It is important to embrace a consciousness of intersubjectivity and adopt a cognitive approach of situationism in order to avoid blind restrictions and misjudgments in order to foster a positive and healthy ecosystem for literary criticism in We Media.Additionally,it is crucial to adhere to bottom-line thinking and emphasize responsibility,taste,and discipline while regulating the field of criticism,the audience,and critical text.

The Anne Frank House in Amsterdam＂ A Museum and Literary Landscape Goes Virtual Reality

The Anne Frank House, site of Anne Frank＇s place of hiding 1942-1944, has become a leading tourist attraction in Amsterdam and among heritage sites of the Holocaust. This paper reviews the historical context of the political events from 1933 to 1945, the circumstances for the betrayal, and arrest of the group in hiding, the saving of Anne Frank＇s diary and its publication after her death at the Bergen-Belsen concentration camp in March 1945. Further, the paper reconstructs the beginnings of the heritage site as a small museum at 263 Prinsengracht in 1960 as well as the management issues and capacity problems that led to a larger museum complex including an educational center in 1999. During the years of 2007-2010, when the annual visitation of the museum surpassed one million, the Anne Frank House decided to introduce a high quality 3D version of the Secret Annex on the Intemet. In the final part of the paper, trends in museum management and the more frequent uses of a digital documentation of heritages sites are reviewed.

Research on Application of Digital Art and Virtual Reality in Animal Medical Education

With the development of social science and technology,digital technology has been widely used in all walks of life.Especially in the field of medical education,the rational application of digital technology will create a simulated learning environment for students,which has a key impact on the improvement of medical education.This article is an analysis of the application of art and virtual reality in animal medical education.I hope that this analysis can play a certain role in improving the effect of today’s animal medical education,and provide a certain reference value for the reasonable application of digital technology and virtual reality technology in today’s animal medical education.

Reality,Imagination and Art-On Wallace Stevens's Art of Poetry

Wallace Stevens is a distinguished American modern poet.He come up with the idea of Supreme Fiction,in which he holds poetry as the union of reality and imagination,brings power,order,and wisdom to the world,which features his work with philosophy and poetic wisdom.Stevens's perspectives on poetry writing and the needs of spiritual enrichment share some similarities with Friedrich Nietzsche on art and aesthetics-Art is the final form of sublimation of the souls of human beings.

Mimesis in the Relationship between Art and Reality

The relationship between art and reality is broadly categorized according to mimesis.This paper attempts to examine the relationship among mimesis,art and reality in discussing criticisms of several representative classical literature theorists.Their concepts of mimesis lead them to take an important position regarding artistic creation.

Virtual Reality and Learning: A Case Study of Experiential Pedagogy in Art History

While images are central to the discipline of art history, surprisingly little research has been conducted on the uses of digital environments for teaching in the discipline. Over the past decade, more studies have emerged considering the egalitarian space that can be used by students and teachers in web-based applications and social media. A body of literature has begun to emerge out of a small network of scholars and educators interested in digital humanities and art history, providing examples of how new tools can be integrated into the standard slideshow and lecture format of the field. At the same time, the latest technology that proves revolutionary for the field has had very little study-virtual reality (VR). Additionally, sensory evidence for digital art history and the creation of immersive interactive and multimodal environments for knowledge production is still underexplored. As multiple educational metaverses are currently under development, understanding best practices and pedagogical use of VR has never been timelier. This study seeks to review the pedagogical use of VR in art history current in the field and introduces results from a study of the most effective ways to use these immersive experiences using Bloom’s revised taxonomy. Results confirm that the most effective method to structure VR assignments is to provide training on the technology, provide students with the necessary instructional material to introduce the concept, skill or technique to be learned, create or select an immersive experience that reinforces that topic, and conclude with a debrief or discussion about major takeaways from the experience.

Exploration of the Role of Virtual Reality and Augmented Reality in Revolutionizing Art Education

Virtual reality(VR)and augmented reality(AR)technologies have become increasingly important instruments in the field of art education as information technology develops quickly,transforming the conventional art education approach.The present situation,benefits,difficulties,and potential development tendencies of VR and AR technologies in art education will be investigated in this study.By means of literature analysis and case studies,this paper presents the fundamental ideas of VR and AR technologies together with their several uses in art education,namely virtual museums,interactive art production,art history instruction,and distant art cooperation.The research examines how these technologies might improve students’immersion,raise their learning motivation,and encourage innovative ideas and multidisciplinary cooperation.Practical application concerns including technology costs,content production obstacles,user acceptance,privacy,and ethical questions also come under discussion.At last,the article offers ideas and suggestions to help VR and AR technologies be effectively integrated into art education through teacher training,curriculum design,technology infrastructure development,and multidisciplinary cooperation.This study offers useful advice for teachers of art as well as important references for legislators and technology developers working together to further the creative growth of art education.

“Fashion Art” A dialogue between concept and reality

As fashion evolves to where it is today, its function is no longer lim-ited to wear-ability and aesthetics, instead, it has become an important element to highlight personal characteristics, social status, aesthetic taste, and to distinguish social groups and features of socialization. Besides, the symbolic meaning conveyed by fashion has become more prominent. With the change of culture, economy and politics, and the development of technology and materials, it has been gradually separated from the functional needs in the traditional sense and is extending to the field of public art Meanwhile, its features of the times are also revealed.

The Value of the Yangzhou Storytelling of Rogue Pi Wu

Yangzhou pinghua 評話(Yangzhou storytelling), as a genre of vernacular performing arts, appeared in Yangzhou in the late Ming 明(1368-1644) and early Qing 清(1616-1912) times. The Yangzhou pinghua repertoire of Pi Wu lazi 皮五辣子(Rogue Pi Wu) initially created in Yangzhou around the Qianlong 乾隆(1735-1796) era has been passed down to the present times and performed by Yang Mingkun 楊明坤(1949-). In this paper, the author will examine some historical aspects of Yangzhou city that is reflected in the narrative of Rogue Pi Wu recited by Yang Mingkun and the basics of the repertoire of Rogue Pi Wu by referring to the historical documents related to Yangzhou pinghua and the modern studies on the history of Yangzhou city, aiming to point out that Yang’s repertoire of Rogue Pi Wu is of great research value to the study on Yangzhou storytelling. In addition, the origins and values of this thesis and the methodology adopted in conducting the present research are introduced.

中国共产党的文艺制度与文化领导权建构

文艺制度是中国共产党建构文化领导权的重要途径之一。党的文艺制度是马克思主义文艺理论中国化、时代化的重要成果,其建构经历了从“以苏为师”到自主探索的发展过程。中国共产党在革命、建设、改革开放与中国特色社会主义新时代的不同阶段,基于文化领导权建构的需要,探索并建立了会议制度、组织制度、生产制度等一系列文艺制度。文艺会议制度确立了党对文艺工作的意识形态引领的基本原则与方向,文艺组织制度确保了党对文艺工作者的团结与动员,增强了文艺界的向心力,文艺生产制度则推动了党领导下的社会主义核心价值观的培育与弘扬。一百年来,中国共产党根据不同阶段对文艺性质的不同认识和文艺功能的不同定位,与时俱进地调整对文艺工作的领导方式与管理方法,不断推进文艺治理能力和治理体系的现代化。通过一系列文艺制度建设,党逐步确立和巩固了文化领导权,丰富和发展了中国马克思主义文艺理论,并完善和深化了中国特色社会主义制度体系。

沉浸式体验在数字艺术展中的表达研究

随着科技的进步,人民生活水平在日渐提升。数字技术运用在了公众生活的各个领域,影响了公众的日常生活,成为公众生活不可缺少的部分。艺术领域的发展也出现了数字化趋势,沉浸式的观展方式日渐风靡。沉浸式的观看方式改变了传统艺术的叙事方式,强调观者的感受和能动性,解构了传统艺术的观看与审美方式。这种形式丰富了艺术的表达方式,为观者建构全新的审美体验。文章通过对沉浸式艺术展的解读,并结合经典案例分析其内在特征与目前现状,试图为未来沉浸式艺术的发展提供新思路和方式。

优化:人工智能时代的文论问题

日常用语中的“优化”指采取一定措施使事物变得优异。作为计算科学和运筹学中的重要内容,优化是指在一定限制条件下,选取某种方案以获得“最优化”的目标。将优化引入文论,可以与美化相关联,彼此之间有同有异。生成式AI中,优化有模型训练、创意提示、调试迭代三种方式。文艺作品之所以能够被优化,与其作为物质基础的艺术媒介及其作品的“可修正性”有关。在优化的技术演进中,先后经历了手工加工时代的优化、机械复制时代的优化、数字创生时代的优化三个阶段。手工加工时代出现了诸如对“手稿”的“润色、修改”,对“乐器”的“调音”,对“原作”的“临摹、誊写甚至重写”,对“文物、遗迹”的“修复”等不同的“类优化”类型;机械复制时代出现了“参数优化”“剪辑优化”“表演优化”等类型;数字创生时代出现了以算法优化为核心的智能优化。将优化引入文论,需要警惕“最优化”的结果不是“奇异性”,而是“普通性”的算法悖论、数据和变量中的偏差不易被纠偏;相反,易强化成偏见的偏差悖论以及随机并不意味着不同,而只是相似,是风格的重复的生成悖论。

在精神会通处找寻建构路径——“第二个结合”与中国自主文艺批评话语体系建构初论

建构中国自主的文艺批评话语体系,需要坚持“两个结合”,尤其是马克思主义经典文艺思想与中国传统文艺批评话语的深度结合。二者的高度契合及融通,主要不在于概念、范畴、命题等的相近或相同,而在于它们都将真善美的价值追求作为文艺批评的基本出发点,不仅有着共同的理论问题域或话题关注点,而且在文艺性质与功能、文艺批评标准与原则、人物形象塑造等核心问题的观念主张方面具有内在一致性或精神相通性。

系统观与方法论:网络文艺评论的审美指向和思维展开

在互联网时代新的媒介生态、艺术生态和产业生态中,网络文艺创作生产风生水起、如火如荼。与此相应,网络文艺评论蓬勃发展。伴随数字文化的范式转换,网络文艺评论需在系统性的审美观照中,突出强化“传统”与“现代”的历时性比较、“中国”与“西方”的共时性参照、“加强”与“修正”的反身性透视。这三个维度的审美指向和思维展开是网络文艺新实践在文艺评论上的客观反映,也是网络文艺评论发挥积极作用、促进创作生产繁荣发展的必然要求。

恩格斯的“历史观点”与他的现实主义文艺观——兼论“历史观点”的翻译

恩格斯的“历史观点”翻译为“史学观点”是不大妥当的。在恩格斯两篇涉及“历史观点”的重要文献中,“历史观点”的核心内涵都是“现实”。恩格斯的“现实”包含三个方面的含义:一是当下的现实;二是过去的现实或者说历史上的现实;三是作者、批评家的思想与认识立足当下的现实,同时符合历史的现实。其基本指向是“真正的现实”。恩格斯的“历史观点”与其现实主义文艺观的关系可以从三个方面探讨:其一,“历史观点”促进了恩格斯文艺思想的现实主义转向;其二,二者相互契合;其三,二者相互促进。

自创生:媒介及新媒介文艺意义生成

“自创生”是用以描述系统自我生成性质的重要概念,“自创生系统”是能够自主生产、递归进化的系统。自创生理论以生成论为哲学基础,在去“本体”化的过程中建构了独特的“自体论”。按照自创生理论,媒介是典型的自创生系统。进入现代社会,媒介系统将物质性与技术性转化为自身的生产力,展现出更为强劲的自主性,并在进阶演化和更新迭代的螺旋式生成运动中表现出递归性以及人、物、媒介之间新的缔合关系。数字新媒介系统的自创生进入了“数智化”阶段,形成了以计算法则为主导的信息生产方式,也带来了新世界即赛博空间的涌现。新媒介的数智化自创生,建构了新媒介文艺意义生成的自创生性质。从自创生视角看,新媒介文艺实践不过是数字化的人类行动者与媒介性行动者在互动耦合过程中,联合其他生产要素共同开展的自创生性文艺意义生产活动。在这一过程中,媒介性与文艺性交叠衍生,数字文艺性也由此生成。

文艺评论助推创作繁荣的历史经验与现实意义——以“长安画派”为例

优秀的文艺评论通过问题聚焦、理论阐释和思想引领,不仅对受众有导向、提升的作用,而且对艺术创作亦能产生镜鉴、助推的效果。作为文艺评论助推艺术创作繁荣的一个典型案例,20世纪五六十年代《美术》杂志所刊文艺评论文章与“长安画派”绘画创作之历史钩沉,引起了新中国画推陈出新问题的激烈论争,触发了美术界关于文艺评论标准的讨论。由此延伸,建党百年以来,客观公正的文艺评论不断修正着文艺创作的发展路线,使得体现现实生活厚度,时代精神锐度和民族风格、中国气派高度的经典作品层出不穷。

革命、无产阶级、大众化——论左翼文艺运动三个关键词之间的逻辑关系

“革命”“无产阶级”“大众化”是左翼文艺运动三大关键词。这三个关键词生动地反映了从革命文学论争到文艺大众化讨论进程中的左翼文艺运动历史风貌,对于中国现代无产阶级文学的形成与发展起到了范型作用。“革命”竖起了左翼文艺的道德标杆,确立了革命文学生存与发展的伦理优势;“无产阶级”标明了左翼文艺的意识形态属性,明确了革命文学的主体及思想立场;“大众化”初步型构了无产阶级文艺范式,解决了革命文学发展的基本路径与方法。“革命”“无产阶级”“大众化”以其不可分割的逻辑关系形象地演绎了中国现代无产阶级文学形成的关键历史进程,揭示了无产阶级文学最终走向胜利的历史必然性。

中国文艺评论话语自主建构的问题指向与方法创新

建构中国自主知识体系是当前哲学社会科学研究的重要任务和目标,中国文艺评论理应在其中发挥重要作用。中国文艺评论具有自己的学科体系、学术体系和话语体系,话语自主建构是其重要呈现方式。中国文艺评论话语自主建构不仅仅是话语本身的问题,还应该深植于它的问题指向与方法创新过程。从学科角度看,中国文艺评论有其独特的思想资源和文化特性,这方面的内容是其“中国”属性的标识;从学术角度看,中国文艺评论话语自主建构不能仅仅满足于一般意义上的评论、评析、鉴赏、论说层面,“建构”之所以是“建构”,还需要展现出对当代文艺问题的理论把握的高度、思想表达的厚度、时代观照的深度,最终为构建中国自主知识体系服务。