1,724,992 research outputs found
Taiyuan Sui Yu Hong Mu. Beijing, Wenwu chubanshe, 2005, 317 p. [La tombe de Yu Hong, époque Sui, à Taiyuan]
Full text linkLuxueuse publication de la tombe de Yu Hong, un Sogdien ayant servi d’ambassadeur dans toute l’Asie centrale pour les empires nomades et les dynasties chinoises durant la seconde moitié du VIe s., et dont la tombe a été retrouvée en 1999. Elle contenait une maison funéraire de pierre intégralement ornée de bas-reliefs et de peintures. Cette découverte s’inscrit dans un ensemble de découvertes archéologiques sur la présence sogdienne en Chine. L’ouvrage est en chinois, mais avec 11 p. de résum..
Yu zhong yang wen ge dou
No full text《三忠于》红卫兵.文字: 与中央文革斗;下款: 《三忠于》红卫兵批邓漫画 一九六七年八月卅日绘 ; 印記: 忠于毛主席 忠于毛泽东思想 忠于毛主席的革命路线 .裝裱後高寬: 146 x 38 cm.Title devised by cataloguer."San zhong yu" hong wei bing.Wen zi : Yu Zhong yang wen ge dou; Xia kuan : "San zhong yu" hong wei bing pi Deng man hua 1967 nian 8 yue 30 ri hui ; Yin ji : zhong yu Mao zhu xi zhong yu Mao Zedong si xiang zhong yu Mao zhu xi de ge ming lu xian .Zhuang biao hou gao kuan : 146 x 38 cm
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Sinofemcentrism and its manifestations in art by Yu Hong, Cui Xiuwen, and Xiang Jing
Full text linkIn response to the relative absence of contemporary Chinese women artists and their art in art historical discourses and in the art world, this study investigates the marginalization and symbolic annihilation of contemporary women artists and their art and the research conundrum on this neglected subject. This research suggests a new theoretical framework, sinofemcentrism, to facilitate the discussion and investigation of contemporary Chinese art by women, and examines sinofemcentrism’s manifestations in art by three contemporary Chinese female artists: Yu Hong, Cui Xiuwen, and Xiang Jing.
Sinofemcentrism is designated to the possibilities of a Chinese-female-centered worldview emerged from a strong sense of agency, self-awareness, and consciousness concerning the world about Chinese women’s race, sex, and artistic ability.
All three artists, though their mediums vary, are keen to depict female subjectivity through figurative representation. As a painter, Yu Hong is interested in the perceived minutiae of women’s lives against the grand narrative of Chinese history. Yu Hong’s female subjectivity centers on Chinese women and renders them individual players of the world, who are directly influenced by the history of China and the world.
Cui Xiuwen (1967-2018) was a mixed media artist. Interested in Chinese women’s psyche and the social, cultural, and economical implications that contributed to the systemic exploitation of women, Cui Xiuwen’s figurative works since her 2000 video work Lady’s Room continued to show her concern about the sexual violence Chinese women and children endured, but her subjects were rendered gradually more passive, frail, and stationary.
Keen to explore the complex internality of human nature, Xiang Jing’s sculptural depiction of the female body embraced signs of age, the diversity of body types, a wide range of emotions, and female intimacy, friendship, and solidarity.
This thesis concludes that art by Yu Hong, Cui Xiuwen, and Xiang Jing reflects what I have chosen to call their sinofemcentric stance which is unique to their Chinese-female-centered worldview and personal and professional experience. It is argued that Sinofemcentrism is a suitable theoretical framework to facilitate art historical discourses on the works of Chinese women artists from China, the greater Sinophone areas, and in diaspora.Art Histor
Liu shi gong hui zhua sheng chan cu ge ming
No full text《三忠于》红卫兵揪刘尖兵绘画.文字: 刘氏工会 抓生产促革命;下款: 《三忠于》红卫兵揪刘尖兵绘画 一九六七年二月十三日; 印記: 忠于毛主席 忠于毛泽东思想 忠于毛主席的革命路线.裝裱後高寬: 143 x 38 cm.Title devised by cataloguer."San zhong yu" hong wei bing jiu Liu jian bing hui hua.Wen zi : Liu shi gong hui zhua sheng chan cu ge ming; Xia kuan : "San zhong yu" hong wei bing jiu Liu jian bing hui hua 1967 nian 2 yue 13 ri; Yin ji : zhong yu Mao zhu xi zhong yu Mao Zedong si xiang zhong yu Mao zhu xi de ge ming lu xian.Zhuang biao hou gao kuan : 143 x 38 cm
Going Beyond Counting First Authors in Author Co-citation Analysis
Full text linkThe present study examines one of the fundamental aspects of author co-citation analysis (ACA) - the way co-citation
counts are defined. Co-citation counting provides the data on which all subsequent statistical analyses and mappings
are based, and we compare ACA results based on two different types of co-citation counting - the traditional type that
only counts the first one among a cited work's authors on the one hand and a non-traditional type that takes into
account the first 5 authors of a cited work on the other hand. Results indicate that the picture produced through this non-traditional author co-citation counting contains more coherent author groups and is therefore considerably clearer. However, this picture represents fewer specialties in the research field being studied than that produced through the traditional first-author co-citation counting when the same number of top-ranked authors is selected and analyzed. Reasons for these effects are discussed
Supplemental Material - Does Long-Term Shift Work Increase the Risk of Dementia? A Systematic Review and Meta-Analysis
No full textSupplemental Material for Does Long-Term Shift Work Increase the Risk of Dementia? A Systematic Review and Meta-Analysis by Yang Hai, Ying Xue, and Yu-hong Wang in American Journal of Alzheimer's Disease & Other Dementias®</p
Supplemental Material - Does Long-Term Shift Work Increase the Risk of Dementia? A Systematic Review and Meta-Analysis
No full textSupplemental Material for Does Long-Term Shift Work Increase the Risk of Dementia? A Systematic Review and Meta-Analysis by Yang Hai, Ying Xue, and Yu-hong Wang in American Journal of Alzheimer's Disease & Other Dementias®</p
Variations on the Author
Full text link“Variations on the Author” discusses two of Eduardo Coutinho’s recent films (Um Dia na Vida, from 2010, and Últimas Conversas, posthumously released in 2015) and their contribution to the general question of documentary authorship. The director’s filmography is characterized by a consistent yet self-effacing form of authorial self-inscription: Coutinho often features as an interviewer that rather than express opinions propels discourses; an interviewer that is good at listening. This mode of self-inscription characterizes him as an author who is not expressive but who is nonetheless markedly present on the screen. In Um Dia na Vida, however, Coutinho is completely absent form the image, while Últimas Conversas, on the contrary, includes a confessional prologue that moves the director from the margins to the center of his films. This article examines the ways in which these works stand out in the filmography of a director who offers new insights into the notion of cinematic authorship
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