用文学诠释历史

闽商已成为世界瞩目的群体,它代表着一个社会的发展旅程。这个群体是闽文化历史积淀与发扬和时代变革有机组合,是几代人的生命述说。这不仅是史学家的使命,同样也是文学家的使命,用文学诠释这段历史,以弥补历史的遗憾。     

渐行渐远的背影——对于《背影》的解读与感想

上世纪50年代以来,《背影》遭到种种责难和非议,似乎正与社会主流意识形态和新教育理念渐行渐远。认真阅读并正确解析《背影》,除了能欣赏到朱自清精湛的散文艺术,或许还会对弘扬我们民族的优良传统、升华我们的人生准则产生积极的影响。     

The arc and the zip: Deleuze and lyotard on art

Lyotard and Deleuze made extensive use of modern art to mount a critique of representation as part of their attack on the enlightenment subject. Art breaks out of received rules, conventions, forms, and cliches and is an instance of ethical if not revolutionary activity. Lyotard first developed these ideas through the concept of the Figure, which Deleuze later adopted. Figure is the desire or force that transgresses and deforms the good form of mimetic representation. Using Cezanne and Francis Bacon as paradigmatic examples, they argue that art creates new feelings and desires (Lyotard) or intensities and sensations (Deleuze). For Deleuze this is the model of ethical behavior -- the creation of new, productive forms of life free from the negativity of judgment. While Lyotard and Deleuze started from a common point, Lyotard changed his position in his later work on the sublime. Rather than positing a subject of purely affirmative desire and ideally free of the limitations of judgment, he posited a subject seized by and limited by the law. The subject is by nature divided: always already seized by and hostage to an Other, an unrepresentable excess or remainder. He is under an obligation to recollect and respond to the Other by bearing witness to it. The sublime experience of seizure by the law is exemplified in the paintings of Barnett Newman. While Deleuze would have done with judgment, Lyotard can never have done with it.     

浅析视觉传达设计中的指示系统设计

作为视觉传达设计的一部分,指示系统设计长期以来经常被人们所忽视。在现代社会中,人们的生活节奏不断加快,这就要求指示系统能够简洁、有效、快速的传达视觉信息。另外,指示系统已经逐渐成为环境景观的构成部分之一,它在传达信息的同时也要给人视觉美的享受。