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From taking a look on the law of development of furniture style, the history of furniture has come through an endless evolution in each period,just as the anagenesis of human being.

主要的家具风格有传统风格、乡村的民俗风格、当代\现代家具风格几种类型。

This paper analyzes related cultural background of this phenomenon including the challenge of popular culture and mass media to contemporary art, the macroclimate of global painting with cartoon style, the cartoon plot of the creative body and the inheritance and developing rule of the oil painting development.

本文就这个现象剖析了相关的文化背景诱因,包括现代流行文化和大众传媒对于当代艺术的挑战、全球卡通式绘画的大气候、创作主体的卡通情节和油画发展本身的继承和发展规律,也从题材、语言、艺术处理手法等方面分析了这种绘画的风格特点。

Some of Liu's ideas response to the stylistics of the Song Dynasty,but more views surpass it at that time.

其中有的主张是对当代诗歌风格学的回应,更多的是对当代诗歌风格学的超越。

Furthermore, the thesis takes the advantage of Chapter Three "The roles' multiple relationship in Ai-Lin Yan's poems" which embraces the three kinds of writing archetypes all above to present the poetic thoughts' orientations with multiple conflicts of individual consciousness by the struggle and the escapement the role "I" treat "you" on the individual consciousness and the performance of the gender in the text, the harmony and the separation "you" treat "I" in the spirit of thinking and on the physical passion, and the metamorphosis of "him" or "her" in accordance with or against subversion "I" treat "him" or "her" that way between the interpretive community and the Other, the imagined community and the alterity.

在当代的文学批评中,相较於对现代小说或现代散文之析论趋势,专文探讨而研究现代诗之论作仍非主流大宗,而居於现代诗中边缘书写的女诗创作,在向来以阳系体制为主导之诗域内,亦往往不易彰显其独特文学价值性。因此,本论文拟择定代表当代台湾女诗中创作思维既有别於他者,亦强烈建立女性意识书写风格之颜艾琳诗作,进行深度剖析,并藉由文本中特殊凸显出之角色个体意识冲突,作为论证台湾九0年代现代女诗突破既往父权文化藩篱,且开启新世代诗创定位之初探基点。

Paintings in different styles and different genres live and stretch here, with fresh breath, presenting the latest pattern of the booming cotemporary art in China.

在中灰色、亚麻色和砖红色的包豪斯风格的废弃工厂中,墙面被涂成了大面积的白色或红色——实验水墨、影像艺术、政治波普、艳俗艺术……形态各异的绘画在这样的空间中排列、延伸、呼吸,向你昭示着蓬勃的中国当代艺术的最新形态。

Such an appropriation-- allegorizing heaven and hell to the social situation, or intervening in classical paintings by adding or substituting some modern elements-- is more and more common in contemporary Chinese art. The fermentation of Chinese flavor in the 21st century gives Liu Dahong's art a fresh feel, but undeniably such a development is a matter of course.

但是,此常见的中西方文本挪用、以宗教画中地域天堂的描述转喻当代社会的现态、或在古画模型中加入现代元素的替代技巧,也许中国特色在21世纪的发酵带给刘大鸿此类作品一股维新感受,但不可否认这类风格是艺术表现发展中理所当然的结果。

Construct the theory basis of personal creation and establish self-creation style and prospective developing directions in exploration of the creation theory of contemporary calligraphic art of Asia and its times by practical creation.

在亚洲当代书艺的创作理论及其时代性的探究之中,透过实际创作,构筑个人创作的理论基础,建立自我的创作风格与未来发展方向。

China the landscape painting in Song, the Yuan time development was ancient times most considerable, the Qing Dynasty lagged, on the whole China ancient times landscape painting style when Sui "simple and artless, immortal"; When Tang "high ancient, magnificent and expensive"; When Song "sinks male, great"; When Yuan "wild leisurely, desolate"; Bright when "beautiful, enrichment"; Peaceful and orderly times "oldfashioned, remembers past times".since the modern times, near modern age, the contemporary landscape painting has been in approximately with during Western art culture wearing.

中国古代山水画在宋,元时期发展最为可观,清代滞后,大体上中国古代山水画的风格在隋时&稚拙,不朽&;唐时&高古,华贵&;宋时&沉雄,博大&;元时&野逸,萧疏&;明时&绮丽,充实&;清时&泥古,怀旧&。近代,近现代,当代以来的山水画大致处于与西方艺术文化的磨合之中。

Influence by the language styles of classical literature and folk literature, novel language of him can be rated as contemporary a special skill, his colloquial speech enters the bor.

受古典文学和民间文学的语言风格的影响,他的小说语言堪称当代一绝,他的大白话也渐入炉火纯青之境。

The thesis purposes to read Shakespeare's Queen Margaret in the context of Renaissance: Renaissance women writers appropriate biblical female characters to reconfigure the traditional virtues; in addition, Shakespeare, influenced by a diversity of Renaissance historiographies, devises his own history plays in which he lets his women articulate and exert their influence upon their male counterparts in comparison with Holinshed's Chronicles.

本论文试著将玛格丽特皇后置於文艺复兴时代的脉络下探讨:於第一章,一方面藉由几位文艺复兴时代女性作家之作品,观察她们如何挪用圣经中的女性角色、重新定义传统女性美德之内涵;另一方面,受到当代史料编纂多元化之影响,莎翁亦写出能够呈现自己风格的历史剧,尤其是在与何林塞之编年史(Holinshed's Chronicles)的版本比较之下,发现到莎翁历史剧中的女性不但能够发声,更进而影响其他男性角色。

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