This article gives a brief introduction to Antoine Predock’s architectural experiences and analyzes the source of his particular style and thought on design in aspects of architecture and ride, architecture and art, as well as architecture and land.
简要介绍了安托内·普雷多克的建筑经历,并从旅行与建筑、艺术与建筑、大地与建筑三个方面来分析普雷多克独特的设计风格和设计思想的来源。
After analysis and study,this paper brings out that landscape culture is in fact a kind of cultural memory in the land,a kind of life experience and the traces of the material and spiritual ways left by human beings.
文章作者通过分析研究,认为所谓景观文化其实是人在大地上的一种文化记忆、一种生活体验、一种物质与精神方式的痕迹。
As the descendants of the Great Qi-Lu Land,both Zhangwei and Mo Yan are imbued with deep love towards the land nurturing them,and each of them expresses their reflections and thoughts on the homeland with profound emotions.
张炜与莫言都是齐鲁大地的子孙,他们都对哺育了自己成长的齐鲁大地满怀深情,各自以饱蘸激情的笔墨抒写着对故乡大地的体悟、感叹。
Zhangwei makes his way into the folk world, on the process of combination with the earth, and growing on the earth and becoming more and more nearer to the folk world, finally comes back to his spirit world.
这种品格不仅表现在对民间大地的极力书写,更表现在对大地上所生长的自由自在的生命的极力讴歌。
They are:poetry is “building of life”;violence for violence;emphasis on language;poem should consider the existence of “the hidden” and call up readers;integration of poem and the earth.
在诗歌创作上“尊重个性”的同时,诗学主张不断形成共识,具体表现为:诗歌,作为生活的“一种建制”;以暴制暴,从思维上强化语言的生命旨归;诗歌要考虑“隐匿者”的存在,学会召唤读者相应的情绪;诗歌伦理学:诗歌与大地合一。
The Feminism in The Good Earth;
《大地》的女性主义解读
On The Good Earth’s Contribution of Spreading the Chinese Culture;
赛珍珠《大地》对中国文化的展示和传播
Two Texts about One Land——A Comparison between Pearl Buck s The Good Earth and Qin Zhaoyang’s The Good Earth;
一个大地 两种文本——赛珍珠与秦兆阳同名《大地》比较
It also discusses the different issues on the decisive function of Suzhou to her works 《The Good Earth》 that had won the Nobel Prize,her acquaintances with Chinese cultural celebrities Xu Zhimo & Jiang Kanghu,her living pl.
作者以其对赛珍珠与《大地》背景所在地——宿州之间深层联系的深刻而独到的理解,结合国内外最新研究成果,从文化角度切入,言简意赅地剖析了宿州与赛珍珠在中国的经历及声誉沉浮,宿州对《大地》获诺贝尔文学奖的决定性作用、赛珍珠与徐志摩及江亢虎等文化名人的交往、赛珍珠在宿州的故居等从说纷纭的问题,从而对赛珍珠及《大地》的研究,提供了建设性思考。
Kostmolose s artistic vision, deprived from his real life experiences, contains three types of time and space, namely earthly, hellish, and cosmic, which carry heavy meaning in themselves.
科斯托马罗夫将自己真实的生活形象有特色地植入一个艺术世界中,这个世界包含了极具感情色彩的大地时空、地狱时空和宇宙时空。
The world and the earth are kernel concepts in Heidegger s later philosophy and analysis of art.
世界和大地概念是海德格尔后期哲学及其艺术分析的中心概念,世界是物具有其存在的基础,在以使用为目的的筹划中,它是以世界和大地为基础的,艺术作品由于不以使用为目的,所以,在艺术作品中,世界不再闭锁,从而使得存在的基础处于去蔽状态。
The inpidualistic features of Bai Guangxin s My Forest are represented in the following ways: firstly,to observe and perceive an object aesthetically;secondly,to extend the internal emotion to the external moral commitment;thirdly,to pursue the philosophical contemplation of resting on the earth and strolling in the forest.
柏广新的诗集《我的森林》在创作上的个性特征表现为:用审美之眼观物,用审美之心体物;内心情感诉求的道德承诺趋向;哲学意蕴上的栖居“大地”与游牧“森林”的价值追求。