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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 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: 方一然 Fang, Yiran;

    头颅,作为生命本源的象征,自古以来在人类宗教、农业、政治等社会生活中扮演着极为重要的角色。而所谓“头颅”叙事,笔者意指中国古典文学中,一类在主要情节及人物上与“头颅”及其变体(如髑髅)相关,且大体怪诞不经、出乎寻常的作品。本文的研究以唐代文学中的“头颅”叙事为中心,力求整理、归纳、分析此类作品在主题内容及叙事技法上的特征与风貌。开篇,全面耙梳、探讨“头颅”叙事在《山海经》及汉魏六朝文学中的滥觞、发展与衍变,为唐代文学中不同类型的“头颅”叙事溯源。其次,依内容分类,重点考察唐代文学中两类分属政治与动物主题的“头颅”叙事作品。其中,针对政治主题,围绕“补史之用”,分析作者如何借恐怖血腥之“头颅”,书写、补充、揭示唐朝各重大政治事变中的残忍与冷酷;而针对动物主题,聚焦“警世之用”,探讨诸如动物借“头颅诉冤”、凭“髑髅幻形”等诡奇描绘,如何寄寓佛教戒杀护生、批淫戒色等警世思想。最后,考察唐代“头颅”叙事的叙事技法与后世发展。先从谋篇布局、塑造人物、寄寓主题三方面对唐代“头颅”叙事中“头颅”物象的叙事功能进行归纳,其次以明代小说《西游记》为例,探讨“头颅”叙事于主题及技法上在唐后的发展与变化。 Heads, as the symbol of essential vitality, have played a significant role in various aspects of human society such as religion, agriculture, politics, and more throughout history. “Head Narration”, as defined by the author, refers to narrative works in Classical Chinese Literature that centre around heads or their variations such as skulls when developing plots or portraying characters and feature unexpected characteristics. This paper will focus on discussing the “Head” Narration in Tang Dynasty Literature, aiming to categorize, analyze and conclude the characteristics of the works relating to their themes and narrative techniques. To begin with, the paper thoroughly examines the origin, development, and variation of the “Head” narration in the Classic of Mountains and Seas 山海经, as well as in the Han, Wei, and Six Dynasties Literature, so as to trace back the source and root of different “Head” narrations in Tang literature. Next, the paper focuses on examining the “Head” narration in Tang literature belonging to the themes of politics and animals respectively. To study the “Head” narrations belonging to the political theme, the paper highlights their effectiveness in serving as a supplementary account to the historical records, by analyzing how their authors would portray the brutal impact of various political incidents through the vivid writing of terrifying “head” narratives. And to study the “Head” narrations belonging to the animal theme, the paper emphasizes their morally educational purposes, discussing how the authors would transmit Buddhist values and beliefs such as abstaining from killing and sexual conduct through the storytelling of animals appealing with heads or animals transforming into human with skulls. Finally, the paper looks into the narrative techniques and the impact of the “Head” narration in Tang literature. The paper explores the narrative function of the image of “heads” from three aspects: structuring the narratives, portraying the characters, and conveying the moral values. And the paper ends with an analysis of the “Head” narration in Journey to the West 西游记 which is selected as one of the representatives of the “Head” narration in post-Tang literature. Master's degree

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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。

    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 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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    Authors: 方一然 Fang, Yiran;

    头颅,作为生命本源的象征,自古以来在人类宗教、农业、政治等社会生活中扮演着极为重要的角色。而所谓“头颅”叙事,笔者意指中国古典文学中,一类在主要情节及人物上与“头颅”及其变体(如髑髅)相关,且大体怪诞不经、出乎寻常的作品。本文的研究以唐代文学中的“头颅”叙事为中心,力求整理、归纳、分析此类作品在主题内容及叙事技法上的特征与风貌。开篇,全面耙梳、探讨“头颅”叙事在《山海经》及汉魏六朝文学中的滥觞、发展与衍变,为唐代文学中不同类型的“头颅”叙事溯源。其次,依内容分类,重点考察唐代文学中两类分属政治与动物主题的“头颅”叙事作品。其中,针对政治主题,围绕“补史之用”,分析作者如何借恐怖血腥之“头颅”,书写、补充、揭示唐朝各重大政治事变中的残忍与冷酷;而针对动物主题,聚焦“警世之用”,探讨诸如动物借“头颅诉冤”、凭“髑髅幻形”等诡奇描绘,如何寄寓佛教戒杀护生、批淫戒色等警世思想。最后,考察唐代“头颅”叙事的叙事技法与后世发展。先从谋篇布局、塑造人物、寄寓主题三方面对唐代“头颅”叙事中“头颅”物象的叙事功能进行归纳,其次以明代小说《西游记》为例,探讨“头颅”叙事于主题及技法上在唐后的发展与变化。 Heads, as the symbol of essential vitality, have played a significant role in various aspects of human society such as religion, agriculture, politics, and more throughout history. “Head Narration”, as defined by the author, refers to narrative works in Classical Chinese Literature that centre around heads or their variations such as skulls when developing plots or portraying characters and feature unexpected characteristics. This paper will focus on discussing the “Head” Narration in Tang Dynasty Literature, aiming to categorize, analyze and conclude the characteristics of the works relating to their themes and narrative techniques. To begin with, the paper thoroughly examines the origin, development, and variation of the “Head” narration in the Classic of Mountains and Seas 山海经, as well as in the Han, Wei, and Six Dynasties Literature, so as to trace back the source and root of different “Head” narrations in Tang literature. Next, the paper focuses on examining the “Head” narration in Tang literature belonging to the themes of politics and animals respectively. To study the “Head” narrations belonging to the political theme, the paper highlights their effectiveness in serving as a supplementary account to the historical records, by analyzing how their authors would portray the brutal impact of various political incidents through the vivid writing of terrifying “head” narratives. And to study the “Head” narrations belonging to the animal theme, the paper emphasizes their morally educational purposes, discussing how the authors would transmit Buddhist values and beliefs such as abstaining from killing and sexual conduct through the storytelling of animals appealing with heads or animals transforming into human with skulls. Finally, the paper looks into the narrative techniques and the impact of the “Head” narration in Tang literature. The paper explores the narrative function of the image of “heads” from three aspects: structuring the narratives, portraying the characters, and conveying the moral values. And the paper ends with an analysis of the “Head” narration in Journey to the West 西游记 which is selected as one of the representatives of the “Head” narration in post-Tang literature. Master's degree

    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/ Digital Repository o...arrow_drop_down
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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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