神话艺术

Helbig and Oskar Lüthy with whom he founded the "Moderner Bund"("Modern League") in 1911. Was one of the organizers of the first exhibition of "Der moderne Bund" in Lucerne, showing works by Amiet, Arp, Friesz, Gauguin, Gimmi, Helbig, Hodler, Lüthy, Matisse, and Picasso.

他的阴刻版画《绝妙的丑角》反映了他在雕刻中的形体变态的艺术风格，而作品《花》则表现了他驾驭多义的线条语言的才能：这里我们可以把"花"看成是高举手臂的人物形象，就象正在逃跑的达夫尼(希腊神话中的人物——译注化成了一棵月桂树)。

In style and art of writing, both early and later mythical stories are superb.

在写作的风格与艺术中，早期和晚期的神话故事都是华丽的。

But poetry remains unique among the linquistic arts as the one which most fully synthesizes orality with the written text, the intellectual rigor of philosophy with the immediacy of direct perception, and the world of the individual imagination with the mythologies, folk rituals and customs held as the common cultural heritage of entire groups of people .

但是诗一直是语言艺术中最独特的一种，充分融合了口语功能和书写文本的特性，不但兼具了哲学的深度和直接知觉的立即性，更巧妙结合了个人的想像世界和人类共同的文化传承-神话、民间仪式和风俗。

Key: The scope of intangible cultural heritage covers: poems, fairy tales, epics, s tories, legends and proverbs that have been spread orally among people for a l ong time; folk performing arts like traditional music, dance, drama, quyi, acr obatics, puppet show, shadow play, etc.; folk practices like rituals, festival s, sports, competitions, production related and life related customs; folk tra ditional knowledge and practices related to nature and the universe; tradition al handcraft skills; and cultural space related to the above-mentioned express ions.

非物质文化遗产涵盖范围包括在民间长期口耳相传的诗歌、神话、史诗、故事、传说、谣谚；传统的音乐、舞蹈、戏剧、曲艺、杂技、木偶、皮影等民间表演艺术；广大民众世代传承的人生礼仪、岁时活动、节日庆典、民间体育和竞技，以及有关生产、生活的其他习俗；有关自然界和宇宙的民间传统知识和实践；传统的手工艺技能；与上述文化表现形式相关的文化场所等。

I recently held a reader art contest for my online comic, Reman Myth, and PV Comics.

我近日召开网上读者对我的漫画艺术大赛，拉曼神话、逐漫画。

If the individuals engaging in advertisement are good at combining the traditional culture Symbol and modern advertisement to exhibit ethical, civilian, agrestic, and traditional symbolization and fable on advertisement communication format and content, the designing will gain powerful pneuma supporting. At the same time, they need to hold the traditional cultural manner and put them into international universal designing language and modern designing ideas.

笔者认为，如果广告人善于将传统文化符号与现代广告设计相结合，对广告传达的形式和内容方面大胆展现民族的、民间的、乡土的、传统的各种象征与神话表述，在保持本民族传统艺术风格的同时，融入国际通用的设计语言及现代设计理念，能使设计获得强大的精神支撑。

The anfractuous characters, plots and space-time structure of "Master and Magaritte" reflect the author's thinking on religious philosophy. Its deconstruction upon biblical stories and mythological romantic plots are based on the background of western Christian culture. The mysticism and profound logical nexus give readers and researchers reasons to see the art essence from various aspects.

大师和玛格丽特》错综复杂的人物情节和时空结构体现出作者的宗教哲学探索精神；它对《圣经》故事的演义和神话式的浪漫情节建立在西方基督教文化背景之上；其中的神秘主义因素以及玄奥的逻辑关系又使阅读者和研究者有理由对作品的艺术内涵做多种角度的理解和领会。

When American Pop art met the Chinese modernism in that very context, a certain mystery was produced: Pop art was readily understood as a Dadaist destructive art, while its cultural deconstructive property seemed to be ignored. By the early 1990s, due to the political reason, China had undergone its rapid social and cultural transition from Enlightenment era to consumerist era, while artists, who were still in despair because of the failure of cultural Enlightenment movement, found themselves confronted with a completely new economic market and their ideas mingled with those of modernist Enlightenment and post-modern deconstruction.

它以风格上挪用、平面化、去意义、去价值这类语言策略解构和消除现代主义的启蒙神话，成为与后现代主义哲学同构的文化思潮。80年代初沃霍尔访华，尤其是1985年劳申伯在北京和拉萨举办个展开始了美国波普主义在中国的传播，而这时正值中国85现代主义运动的高潮，启蒙和反叛是这一运动的主题，正是这种语境使这种传播产生了十分吊诡的意义落差：波普主义很轻易地被理解为一种达达式的破坏性艺术，而它的文化解构主义色彩反倒不易被体会。90年代初中国社会由于政治的原因急促地完成了由启蒙文化向消费文化的转型，艺术家们还沉迷在文化启蒙运动失败的悲壮气氛中却突然发现自己已深陷在一个一完全陌生的经济世界中，理想的失落和批判身份的丧失使他们的思想开始混杂于现代主义的启蒙建设和后现代主义的解构观念之间，于是，波普主义成为这个时代的一种自然的风格选择。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

On the one side, Bakhtin borrows resources from the mythological world, and permutes"Dionysus"with the"Carnival"by way of"displacement"in discourse, and at last, develops Nietzsche's Dionysian spirit into his unique carnival spirit; on the other side, Bakhtin apparently leads a different way from Nietzsche ranging from interpreting contexts to religious attitudes and spiritual orientations in the following souls of the Dionysiac Theory. He eventually transforms Nietzsche's aesthetically artistic ideal of"Traum und Rausch"("Dream and Drunk") into a religious spiritual demand of"leading two lives", and fulfills"a transcendental journey from the God to the man".

尼采的酒神理论和巴赫金(来源：A4eBC论文网www.abclunwen.com)的狂欢理论之间，存在着无比亲密的&对话关系&：一方面巴赫金从神话世界中索取理论资源，通过话语的置换，用&狂欢&取代了&酒神&，将尼采倡导的酒神精神发展成自己独特的狂欢精神；另一方面巴赫金又在遵循酒神理论精髓的同时，在阐释语境、宗教态度、精神所指上，与尼采存在明显的不同，并最终将尼采&梦与醉&的审美艺术理想转换为走向&两种生活&的宗教精神诉求，实现了一种&从神到人的超越之路&。

Neither the killing of Mr Zarqawi nor any breakthrough on the political front will stop the insurgency and the fratricidal murders in their tracks.

在对危险的南部地区访问时，他斥责什叶派民兵领导人对中央集权的挑衅行为。

In fact,I've got him on the satellite mobile right now.

实际上 我们已接通卫星可视电话了