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  • A general language Chinese to French dictionary.

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  • Authors: Escande, Yolaine; Liu, Johanna, 劉千美;

    Le thème de ce numéro spécial est « Multiculturalité, matérialité et art contemporain ». La multiculturalité est un nouveau concept dans l’art contemporain et la recherche esthétique, qui s’inscrit dans la lignée des concepts établis d’internationalisme, de transnationalité, de multiculturalisme, d’hybridité et d’interculturalité. Le concept de multiculturalité vise à mettre en évidence les diverses formes et manifestations du pluralisme culturel que nous partageons tous dans le contexte contemporain de la mondialisation. La question de la multiculturalité dans l’art et l’esthétique contemporains est avant tout différente de la vision de Charles Taylor du multiculturalisme en tant que support politique de l’identité. La signification esthétique de la multiculturalité dans le travail d’un artiste ou d’une œuvre d’art est qu’il cherche à transcender les limites de la monoculture présentée par les civilisations établies et à mettre en place les possibilités du pluralisme culturel à travers sa création. Ainsi, la multiculturalité se distingue des questions d’identité ou de nationalisme culturel, et se concentre sur la portée de l’expérience artistique.En outre, dans l’esthétique contemporaine, parmi les nombreuses pratiques artistiques qui abordent la multiculturalité, la question esthétique de la matérialité a retenu l’attention. Il s’agit en particulier de l’intérêt de l’anthropologie pour la culture matérielle. Ceci est différent de la perspective matérialiste du matérialisme moderne. La signification de la matérialité d’une œuvre d’art n’est pas seulement la matérialité de la forme de l’œuvre. La matérialité de l’objet n’est pas une propriété fixe de la matière, mais un processus et une relation. La matérialité de l’objet est également différente de l’objet d’étude objectif de la physique moderne. Non seulement les différentes disciplines ont des compréhensions et des interprétations différentes de la matérialité des objets, mais la matérialité des objets est la base de la création artistique dans différentes régions culturelles. La matérialité des objets est également une riche source d’informations transmises silencieusement à travers différentes cultures, révélant par défaut la multiculturalité des objets et des artistes. The theme of this special issue is “Multiculturality, Materiality and Contemporary Art”. Multiculturality is a new concept in contemporary art and aesthetic research, following the established concepts of internationalism, transnationality, multiculturalism, hybridity and interculturality. The concept of multiculturality aims to highlight the various forms and manifestations of cultural pluralism that we all share in the contemporary context of globalisation. The question of multiculturality in contemporary art and aesthetics is above all different from Charles Taylor's view of multiculturalism as a political support of identity. The aesthetic significance of multiculturality in the work of an artist or artwork is that it seeks to transcend the limits of the monoculture presented by established civilisations and to set up the possibilities of cultural pluralism through its creation. Thus, multiculturality is distinct from questions of cultural identity or nationalism, and focuses on the scope of the artistic experience.Furthermore, in contemporary aesthetics, among the many artistic practices that address multiculturality, the aesthetic question of materiality has received attention, in particular, the anthropological interest in material culture. This is different from the materialist perspective of modern materialism. The significance of the materiality of a work of art is not only the materiality of the form of the artwork. The materiality of the object is not a fixed property of matter, but a process and a relationship. The materiality of the object is also different from the objective object of study of modern physics. Not only do different disciplines have different understandings and interpretations of the materiality of objects, but the materiality of objects is the basis of artistic creation in different cultural regions. The materiality of objects is also a rich source of information silently transmitted across different cultures, revealing by default the multiculturality of objects and artists. International audience

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Sani, Roberto;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • Authors: Kyburz, Josef; Stang, David;

    The reception of the arts of Japan, like the academic study of its language and culture, lagged a few decides behind the interest Europe had taken in China, but whenb it did take off during the last third of the 19th century, its influence on the Western milieu of artists, art critics, writers, designers and collectors--of Parisian society befor it spread elsewhere--proved to be overwhelming.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Olivieri, LUCA MARIA;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/
    Authors: Richards, Candace; Zang, Catherine;

    《赫拉克勒斯:神话与传承》是一场跨学科的展览,其同时采用两条叙事线索来重述古代神话赫拉克勒斯的十二试炼,并探讨了自后文艺复兴时期至今赫拉克勒斯在科学、技术和艺术领域的影响与应用。 此次展览是周泽荣博物馆致力于“接受研究”系列展览中的第二场展览。第一场展览《动物之神:古典与分类》是关于荷马史诗《特洛伊战》和《奥德赛》。展览中介绍了林奈的生物分类和命名系统,突出了拉丁神话学家文本在名称应用中的作用,其往往没有考虑到被命名动物的物理属性。然而,对于使用‘赫拉克勒斯’ 这个名称的时候,最重要的是考虑到动物、地点或发明物的身体特征,以便将它们与赫拉克勒斯的特征联系起来。此次陈列品包括古代雅典和后文艺复兴时期的艺术作,以及在我们周围世界中应用了赫拉克勒斯及其同伴或对手的名称的动物、植物和物品。

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Sydney eScholarshiparrow_drop_down
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    Other ORP type . 2024
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  • A diachronic corpus consisting of a wide range of fully marked-up Chinese historical texts together with an integral search and analysis tool

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    Authors: Lin, Sen; Lixin, Wang 王立新; Li, Yanxiang; Sebillaud, Pauline; +1 Authors

    Habaqila site is located in the west of Habaqila Village, Yuzhoudi Town, Keshketeng banner, Inner Mongolia Autonomous Region. In 2020, the Frontier Archaeological Research Center of Jilin University, together with the Institute of Cultural Heritage and History of Science and Technology, University of Science and Technology Beijing and the Institute of Cultural Relics and Archaeology of Inner Mongolia Autonomous Region, conducted archaeological excavations, at the same time, the surrounding area of the site was systematically investigated. The sites A, B and C of the Habaqila Site, the Xibeigou, Yihewomente and Shangjuzi Sites were investigated. The relics can be dated from Hongshan Culture, Xiaoheyan Culture, Xiquegou Type, Xiajiadian Upper Culture and Yan, Qin and Han Dynasties. The focus of this investigation is the metallurgical relics of the Xiquegou Type and the upper culture period of Xiajiadian.

    image/svg+xml art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos Open Access logo, converted into svg, designed by PLoS. This version with transparent background. http://commons.wikimedia.org/wiki/File:Open_Access_logo_PLoS_white.svg art designer at PLoS, modified by Wikipedia users Nina, Beao, JakobVoss, and AnonMoos http://www.plos.org/ Hyper Article en Lig...arrow_drop_down
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  • Digital copies of historical botanic papers from the Missouri Botanical Garden Library; Bilddigitalisate von historischen botanischen Schriften; deutschsprachige Texte stellen nur einen Teilbereich dar

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  • A general language Chinese to French dictionary.

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  • Authors: Escande, Yolaine; Liu, Johanna, 劉千美;

    Le thème de ce numéro spécial est « Multiculturalité, matérialité et art contemporain ». La multiculturalité est un nouveau concept dans l’art contemporain et la recherche esthétique, qui s’inscrit dans la lignée des concepts établis d’internationalisme, de transnationalité, de multiculturalisme, d’hybridité et d’interculturalité. Le concept de multiculturalité vise à mettre en évidence les diverses formes et manifestations du pluralisme culturel que nous partageons tous dans le contexte contemporain de la mondialisation. La question de la multiculturalité dans l’art et l’esthétique contemporains est avant tout différente de la vision de Charles Taylor du multiculturalisme en tant que support politique de l’identité. La signification esthétique de la multiculturalité dans le travail d’un artiste ou d’une œuvre d’art est qu’il cherche à transcender les limites de la monoculture présentée par les civilisations établies et à mettre en place les possibilités du pluralisme culturel à travers sa création. Ainsi, la multiculturalité se distingue des questions d’identité ou de nationalisme culturel, et se concentre sur la portée de l’expérience artistique.En outre, dans l’esthétique contemporaine, parmi les nombreuses pratiques artistiques qui abordent la multiculturalité, la question esthétique de la matérialité a retenu l’attention. Il s’agit en particulier de l’intérêt de l’anthropologie pour la culture matérielle. Ceci est différent de la perspective matérialiste du matérialisme moderne. La signification de la matérialité d’une œuvre d’art n’est pas seulement la matérialité de la forme de l’œuvre. La matérialité de l’objet n’est pas une propriété fixe de la matière, mais un processus et une relation. La matérialité de l’objet est également différente de l’objet d’étude objectif de la physique moderne. Non seulement les différentes disciplines ont des compréhensions et des interprétations différentes de la matérialité des objets, mais la matérialité des objets est la base de la création artistique dans différentes régions culturelles. La matérialité des objets est également une riche source d’informations transmises silencieusement à travers différentes cultures, révélant par défaut la multiculturalité des objets et des artistes. The theme of this special issue is “Multiculturality, Materiality and Contemporary Art”. Multiculturality is a new concept in contemporary art and aesthetic research, following the established concepts of internationalism, transnationality, multiculturalism, hybridity and interculturality. The concept of multiculturality aims to highlight the various forms and manifestations of cultural pluralism that we all share in the contemporary context of globalisation. The question of multiculturality in contemporary art and aesthetics is above all different from Charles Taylor's view of multiculturalism as a political support of identity. The aesthetic significance of multiculturality in the work of an artist or artwork is that it seeks to transcend the limits of the monoculture presented by established civilisations and to set up the possibilities of cultural pluralism through its creation. Thus, multiculturality is distinct from questions of cultural identity or nationalism, and focuses on the scope of the artistic experience.Furthermore, in contemporary aesthetics, among the many artistic practices that address multiculturality, the aesthetic question of materiality has received attention, in particular, the anthropological interest in material culture. This is different from the materialist perspective of modern materialism. The significance of the materiality of a work of art is not only the materiality of the form of the artwork. The materiality of the object is not a fixed property of matter, but a process and a relationship. The materiality of the object is also different from the objective object of study of modern physics. Not only do different disciplines have different understandings and interpretations of the materiality of objects, but the materiality of objects is the basis of artistic creation in different cultural regions. The materiality of objects is also a rich source of information silently transmitted across different cultures, revealing by default the multiculturality of objects and artists. International audience

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Sani, Roberto;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
  • Authors: Kyburz, Josef; Stang, David;

    The reception of the arts of Japan, like the academic study of its language and culture, lagged a few decides behind the interest Europe had taken in China, but whenb it did take off during the last third of the 19th century, its influence on the Western milieu of artists, art critics, writers, designers and collectors--of Parisian society befor it spread elsewhere--proved to be overwhelming.

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  • image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
    Authors: Olivieri, LUCA MARIA;
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
    image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Archivio istituziona...arrow_drop_down
      image/svg+xml Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao Closed Access logo, derived from PLoS Open Access logo. This version with transparent background. http://commons.wikimedia.org/wiki/File:Closed_Access_logo_transparent.svg Jakob Voss, based on art designer at PLoS, modified by Wikipedia users Nina and Beao
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    Authors: Richards, Candace; Zang, Catherine;

    《赫拉克勒斯:神话与传承》是一场跨学科的展览,其同时采用两条叙事线索来重述古代神话赫拉克勒斯的十二试炼,并探讨了自后文艺复兴时期至今赫拉克勒斯在科学、技术和艺术领域的影响与应用。 此次展览是周泽荣博物馆致力于“接受研究”系列展览中的第二场展览。第一场展览《动物之神:古典与分类》是关于荷马史诗《特洛伊战》和《奥德赛》。展览中介绍了林奈的生物分类和命名系统,突出了拉丁神话学家文本在名称应用中的作用,其往往没有考虑到被命名动物的物理属性。然而,对于使用‘赫拉克勒斯’ 这个名称的时候,最重要的是考虑到动物、地点或发明物的身体特征,以便将它们与赫拉克勒斯的特征联系起来。此次陈列品包括古代雅典和后文艺复兴时期的艺术作,以及在我们周围世界中应用了赫拉克勒斯及其同伴或对手的名称的动物、植物和物品。

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  • A diachronic corpus consisting of a wide range of fully marked-up Chinese historical texts together with an integral search and analysis tool

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    Authors: Lin, Sen; Lixin, Wang 王立新; Li, Yanxiang; Sebillaud, Pauline; +1 Authors

    Habaqila site is located in the west of Habaqila Village, Yuzhoudi Town, Keshketeng banner, Inner Mongolia Autonomous Region. In 2020, the Frontier Archaeological Research Center of Jilin University, together with the Institute of Cultural Heritage and History of Science and Technology, University of Science and Technology Beijing and the Institute of Cultural Relics and Archaeology of Inner Mongolia Autonomous Region, conducted archaeological excavations, at the same time, the surrounding area of the site was systematically investigated. The sites A, B and C of the Habaqila Site, the Xibeigou, Yihewomente and Shangjuzi Sites were investigated. The relics can be dated from Hongshan Culture, Xiaoheyan Culture, Xiquegou Type, Xiajiadian Upper Culture and Yan, Qin and Han Dynasties. The focus of this investigation is the metallurgical relics of the Xiquegou Type and the upper culture period of Xiajiadian.

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  • Digital copies of historical botanic papers from the Missouri Botanical Garden Library; Bilddigitalisate von historischen botanischen Schriften; deutschsprachige Texte stellen nur einen Teilbereich dar