Abstract The Durability of Culture and the Stories We Tell Narrative in Long-term Knowledge
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陶瓷介绍英语作文1Ceramics have a long and glorious history in China, dating back thousands of years. The development of ceramics reflects the wisdom and creativity of the Chinese people.In the Tang Dynasty, the renowned "Tang Sancai" emerged. It was characterized by its vibrant colors and elaborate designs. The combination of yellow, green, and white created a visually striking effect. The production process involved meticulous craftsmanship and precise firing techniques.During the Song Dynasty, the exquisite blue and white porcelain became highly popular. Its elegant patterns and fine texture made it a symbol of refinement. The artisans paid great attention to the quality of the clay and the painting details.Throughout history, the art of ceramics has not only been a means of creating practical objects but also a form of artistic expression. The changing styles and techniques showcase the evolving tastes and cultural background of different periods.Ceramics have played a significant role in international trade and cultural exchange. They have spread Chinese culture and art to the world, leaving a lasting impression.In conclusion, the history of ceramics in ancient China is a rich and diverse tapestry, woven with the threads of innovation, skill, and aesthetic pursuit.2Ceramics have a long and fascinating history, and their production process is a true art form. Let's take a look at the meticulous steps involved.First of all, shaping is crucial. Skilled artisans use their hands or special tools to mold the clay into the desired shape. This requires great patience and precision. For instance, in Jingdezhen, a renowned ceramic production area in China, the traditional shaping method involves intricate handwork.After shaping, comes the firing process. The ceramics are placed in a kiln at high temperatures to make them hard and durable. This stage is like a transformation, giving the clay its strength.Then, glazing adds the final touch. A layer of glaze is applied to give the ceramics a smooth and shiny surface. Different glazes create various colors and effects.The making of ceramics is not just a technical process; it's a combination of art and craftsmanship. Every step demands expertise and passion. The end result is not just a piece of pottery but a work of art that reflects the dedication and skill of the maker. It's this unique process and the passion behind it that make ceramics so captivating and valuable.3Ceramics have long held a significant place in human history and culture. They come in a wide variety of types and serve numerous purposes.One common type of ceramics is tableware ceramics. In our homes, we often have exquisite ceramic plates, bowls, and cups. These not only serve the practical purpose of holding and presenting food but also add an aesthetic touch to our dining experience. The delicate patterns and smooth finish of these ceramic items make our meals more enjoyable.Another important type is decorative ceramics. In museums, we can admire precious ceramic ornaments and figurines. For instance, the beautifully crafted ceramic vases with intricate designs and vivid colors are true works of art. They showcase the remarkable skills and creativity of the artisans.Ceramics are not just objects; they are a reflection of human civilization and creativity. They have the ability to transform a simple space into something extraordinary, whether it's a dining table or a display cabinet. The durability and beauty of ceramics make them a timeless choice for both functionality and decoration.4Ceramics have long held a significant position in cultural exchanges. China has been renowned for its exquisite ceramics for centuries. Thesedelicate and artistic creations have not only been a source of pride for the Chinese people but have also spread far and wide across the globe, influencing and captivating the hearts and minds of people from different cultures.Take the blue and white porcelain, for instance. Its elegant patterns and unique craftsmanship have charmed art lovers worldwide. The popularity of Chinese ceramics has led to the establishment of trade routes, facilitating the exchange of not only goods but also ideas and values.Ceramics have served as a silent ambassador of Chinese culture. They have brought the beauty and sophistication of Chinese art to distant lands, fostering understanding and appreciation among diverse nations. Through ceramics, people have gained insights into the rich heritage and creative spirit of China.In conclusion, ceramics have played an indispensable role in cultural exchanges. They have bridged the gap between different cultures, allowing for the sharing and celebration of artistic achievements. The influence of ceramics will undoubtedly continue to endure, inspiring future generations to cherish and promote cultural diversity.5Ceramics have undergone remarkable innovations and developments in the modern era. The art of ceramics has transcended its traditional boundaries and embraced contemporary design concepts, giving rise toastonishing and unique creations.Take, for instance, the works of some contemporary artists who have ingeniously merged traditional ceramic techniques with modern aesthetics. They have incorporated elements such as abstract patterns, bold colors, and unconventional shapes into their ceramic pieces. These artists often draw inspiration from various sources, including nature, urban landscapes, and cultural diversity.One notable artist might use traditional hand-building methods to create a sculpture that resembles a fluid, dynamic form found in nature. The texture and finish of the ceramic surface might be meticulously crafted to imitate the roughness of tree bark or the smoothness of a pebble. Another artist could employ modern glazing techniques to achieve a vibrant and iridescent effect, adding a touch of modernity to a classic ceramic vase.These innovations not only showcase the adaptability and versatility of ceramics but also reflect the evolving artistic expressions of our time. They allow us to view ceramics in a new light, as a medium that can seamlessly blend the past with the present, and create objects that are both functional and aesthetically captivating.。
Value Engineering0引言路床水泥土是道路工程中常用的路基材料之一,其力学性质和稳定性对道路的使用寿命和行车安全具有重要影响。
为了更全面地了解路床水泥土的性能,特别是在长时间使用后的变化趋势,需要开展延时试验。
1工程概况本标段位于固原市原州区寨科乡境内,线路起讫里程为K152+800~K158+962,全长6.162km 。
线路起点位于白路岗子村白路岗子1号大桥0号台,过寨科互通立交,穿宋家洼隧道到达本标段终点K158+962处。
采用双向四车道。
主要工程量:主线路基总长2.69km ,挖土方约491万方,填方约53万立方米。
施工内容包括清理与挖除树木、路基挖土方、路基填筑等。
挖、装、运、摊、平、压全部用机械进行流水作业。
现定试验段于K157+540-K157+740段,长200m ,该试验段试验参数为下一步土方路基填筑施工提供技术支持、指导。
2路床水泥土检测延时试验研究2.1试验目的2.1.1确定最佳施工组织在道路建设中,施工组织的合理性直接影响工程的质量、进度和成本。
不同的施工组织可能选择不同的材料搭配和施工工艺,而路床水泥土的质量与材料的选择和搭配密切相关,延时试验可以通过模拟实际使用环境,评估路床水泥土在不同材料组合下的性能变化,为选择合适的施工组织提供数据支持;延时试验的结果可以帮助工程师更好地理解水泥土的性能特点,从而优化施工技术方案,通过调整施工工艺和参数,提高材料利用率、降低成本,并确保工程的可持续性;不同的施工组织可能对工程进度有不同的影响,通过延时试验,可以更好地了解水泥土在不同施工组织下的强度和稳定性,有助于合理安排施工进度,提高工程的施工效率。
2.1.2验证联合作业协调性在路床水泥土工程中,涉及到多个工种、多个施工组织的协同作业,各个组织之间的协调性直接关系到施工过程的顺利进行,影响工程的进度和质量;不同的施工组织可能使用不同的设备和材料,协同使用资源是确保施工高效进行的关键,联合作业协调性需要考虑设备和材料的统一标准和协同配合,且不同施工组织的工程流程可能存在交叉和耦合,协调施工流程的顺畅,避免冲突和阻塞,对于提高施工效率至关重要。
When tasked with writing an essay about a thing,its essential to consider what aspect of the object you want to focus on.Here are some steps and ideas to help you craft a compelling essay:1.Choose the Object:Decide on the specific thing you want to write about.It could be anything from a physical object like a book,a piece of technology,or a piece of clothing, to an abstract concept like love,freedom,or time.2.Define the Significance:Explain why this thing is important to you or to others.What does it represent?How does it impact your life or the lives of those around you?3.Describe the Thing:Provide a detailed description of the object.If its a physical object, describe its appearance,texture,and any unique features.If its an abstract concept, describe its characteristics and how it manifests in the world.4.Personal Connection:Share a personal story or experience that illustrates your connection to the thing.This could be a memory associated with the object or a reflection on how the concept has shaped your life.5.Cultural or Historical Context:If applicable,provide some background on the object or concept.How has it evolved over time?What role has it played in different cultures or historical periods?6.Analysis and Reflection:Dive deeper into the meaning of the thing.Analyze its significance from various perspectives,such as social,psychological,or philosophical.7.Conclusion:Summarize your main points and reflect on the overall importance of the thing.Consider its impact on your life and the broader implications it might have.Heres a brief example to illustrate these points:Title:The Timeless Charm of a Vintage WatchIntroduction:A vintage watch is not just a timepiece its a symbol of elegance, craftsmanship,and a connection to the past.Significance:The watch I inherited from my grandfather is a treasured possession that reminds me of the importance of time and the legacy of my family.Description:The watch is a classic piece with a brass casing,a leather strap,and intricateengravings that tell a story of its own.Personal Connection:The first time I wore the watch was on my graduation day, symbolizing the passing of time and the transition into a new phase of life. Cultural Context:Vintage watches are admired for their durability and the art of watchmaking that has been refined over centuries.Analysis:The watch serves as a reminder of the fleeting nature of time and the value of cherishing every moment.Conclusion:The vintage watch is more than an accessory its a reminder of the past,a guide for the present,and a legacy for the future.Remember to use descriptive language and engage your reader with vivid imagery and thoughtful insights.。
文化研究英文作文Culture is like a big melting pot, mixing different traditions, beliefs, and values together. It's a beautiful chaos that shapes our identities and influences the way we see the world.Music is a universal language that transcends cultural boundaries. It has the power to evoke emotions, tell stories, and connect people from different backgrounds.Food is not just about nourishment, it's a reflectionof our cultural heritage and history. From spicy curries to delicate pastries, each dish carries a unique story and flavor that represents a part of who we are.Traditional dances are like poetry in motion,expressing emotions and stories through movement and rhythm. They are a celebration of culture and a way to pass down traditions from generation to generation.Language is more than just words, it's a window into a culture's soul. It carries the nuances, values, and beliefs of a community, shaping the way we communicate and understand the world around us.Art is a powerful form of expression that reflects the beauty and complexity of different cultures. From ancient cave paintings to modern street art, it tells stories, challenges norms, and sparks conversations about our society.Fashion is not just about clothes, it's a statement of identity and culture. From traditional garments to modern trends, what we wear can speak volumes about who we are and where we come from.Cultural celebrations and festivals are a time to come together, honor traditions, and create lasting memories. Whether it's Chinese New Year, Diwali, or Carnival, these events are a vibrant showcase of culture and community spirit.。
德化瓷器英文介绍Dehua Porcelain: A Timeless Tradition of Elegance and CraftsmanshipDehua porcelain, also known as Blanc de Chine, is a unique and exquisite form of Chinese ceramic art that has captivated the world for centuries. Originating from the small town of Dehua in the Fujian province of China, this delicate and luminous porcelain has become a symbol of Chinese cultural heritage, renowned for its exceptional beauty and unparalleled craftsmanship.The history of Dehua porcelain can be traced back to the Song Dynasty (960-1279 AD), when the region first began producing high-quality ceramic wares. Over the centuries, the artisans of Dehua honed their skills, perfecting the techniques and developing the distinctive characteristics that define this unique ceramic tradition. The key to the Dehua porcelain's allure lies in the rare and pure kaolin clay found in the local mines, as well as the meticulous firing process that gives the porcelain its characteristic milky-white hue and translucent quality.One of the most striking features of Dehua porcelain is its remarkable purity and delicacy. The porcelain is meticulously craftedby skilled artisans, who use traditional methods passed down through generations. Each piece is shaped by hand, with the utmost attention to detail and precision. The surface of the porcelain is often embellished with intricate designs, ranging from delicate floral motifs to more abstract geometric patterns, all of which are painstakingly carved or molded into the clay.The firing process is a crucial step in the creation of Dehua porcelain, as it is what gives the ceramic its distinctive appearance and durability. The porcelain is fired at extremely high temperatures, often reaching over 1300 degrees Celsius, which causes the clay to fuse and vitrify, resulting in a dense, non-porous material that is both strong and lightweight. The final product is a porcelain that is not only visually stunning but also highly functional and durable.One of the most captivating aspects of Dehua porcelain is the wide range of forms and styles that have been developed over the centuries. From delicate figurines and intricate vases to elegant tea sets and incense burners, the artisans of Dehua have created a diverse and truly remarkable body of work. Each piece is a testament to the skill and artistry of the craftsmen, who have mastered the intricacies of the medium and imbued their creations with a sense of timeless elegance and beauty.Perhaps the most iconic and recognizable form of Dehua porcelain isthe Guanyin figure, a representation of the Bodhisattva of Compassion. These serene and graceful statues have become a beloved symbol of Chinese culture, and are highly sought after by collectors and admirers of fine art from around the world. The Guanyin figures are often characterized by their delicate features, flowing robes, and serene expressions, which capture the essence of the Bodhisattva's compassion and wisdom.In addition to the Guanyin figures, Dehua porcelain has also been used to create a wide range of other religious and ceremonial objects, such as incense burners, vases, and ritual vessels. These pieces are not only visually stunning but also deeply meaningful, as they are often imbued with symbolism and spiritual significance.Beyond its religious and ceremonial applications, Dehua porcelain has also been embraced by the wider world of art and design. The porcelain's unique aesthetic qualities have made it a popular medium for contemporary artists and designers, who have used it to create a wide range of innovative and visually striking pieces. From sculptural installations to functional tableware, the versatility and beauty of Dehua porcelain have inspired countless creative minds.Despite the enduring popularity of Dehua porcelain, the art form faces a number of challenges in the modern era. The traditional methods of production are labor-intensive and time-consuming, andthe high cost of the raw materials and skilled labor required to create these pieces can make them prohibitively expensive for many collectors and consumers. Additionally, the fragility of the porcelain itself can make it difficult to transport and display, further limiting its accessibility.However, the artisans of Dehua remain committed to preserving and advancing their craft, and are working tirelessly to ensure that the legacy of this remarkable ceramic tradition continues to be celebrated and appreciated. Through educational programs, cultural exhibitions, and the ongoing development of new and innovative designs, the Dehua porcelain community is working to ensure that this timeless art form remains a vital and vibrant part of the cultural landscape for generations to come.In conclusion, Dehua porcelain is a truly remarkable and captivating form of Chinese ceramic art that has captivated the world for centuries. From its humble origins in the small town of Dehua to its global recognition as a symbol of cultural excellence, this delicate and luminous porcelain continues to inspire and delight all who encounter it. Whether admired for its exceptional beauty, its rich historical significance, or its enduring cultural relevance, Dehua porcelain remains a testament to the enduring power of human creativity and the timeless allure of the artistic spirit.。
写非物质文化遗产的英语作文英文回答:Intangible cultural heritage (ICH) encompasses the diverse practices, representations, expressions, knowledge, skills, as well as instruments, objects, artifacts, and cultural spaces that communities, groups, and, in some cases, individuals recognize as part of their cultural heritage. It is transmitted from generation to generation, often within a particular community or group, and is constantly recreated and reinvented in response to changing social and environmental circumstances.ICH plays a crucial role in maintaining cultural diversity, providing a sense of identity and continuity, and fostering social cohesion. It contributes to sustainable development, promoting creativity, innovation, and community involvement. By safeguarding and promoting ICH, we preserve the richness of human expression and creativity, and ensure that future generations canappreciate and benefit from the cultural heritage of their ancestors.The UNESCO Convention for the Safeguarding of the Intangible Cultural Heritage, adopted in 2003, provides a framework for international cooperation to safeguard ICH. It emphasizes the importance of community participation, respect for cultural diversity, and the transmission of ICH to future generations.中文回答:什么是非物质文化遗产?非物质文化遗产是指被社区、群体乃至个人视为其文化遗产的一部分,并代代相传,并在不断变化的社会和环境条件下不断再创造和再现的各种实践、表现、表达、知识、技能,以及与之相关的工具、物品、制品和文化空间。
(作者-出版年制 格式范本,红色是提醒注意之处)*************的研究重庆大学博士(硕士)学生姓名:XXX指导教师:XXX专 业:XXX学科门类:XX 学重庆大学学院 二OO 七年十月二号黑体 行距:固定值30磅行距:固定值30磅 小二号黑体行距:固定值30磅三号黑体,行距:固定值40磅 三号黑体Study on Properties and Utilization in Building Materials of bottom ashes fromDegree of Doctor (Master) of by学生姓名Supervisor: Prof. (导师姓名)Major: (专业)College of of Chongqing University , Chongqing, China.April,2007 Times New Roman 二号加粗行距:固定值20磅Times New Roman 小二号加粗 Times New Roman 小二号加粗学科门类名称Times New Roman 三号加粗Times New Roman 三号加粗空一行流化床燃煤固硫技术是先进的燃烧技术,但这一技术的推广应用因流化床燃煤固硫渣没有成熟和经济的综合利用途径受到严重限制。
由于人们对流化床燃煤副产物的认识程度还很有限,基础资料十分缺乏,在一定程度上影响了流化床燃煤固硫渣的资源化利用。
本论文较为系统地分析了流化床燃煤固硫渣的特性,并根据现行规范,提出一套新的活性评定方法。
在此基础上,对燃煤固硫渣活性的影响因素、激发方法、体积膨胀性能进行了较为系统的试验研究,并利用XRD、SEM等微观手段研究了燃煤固硫渣的自硬性、活性激发及膨胀机理。
最后对燃煤固硫渣建材资源化利用进行了比较深入的研究。
流化床燃煤固硫渣的特性研究结果表明:(1)因为燃烧温度、燃烧环境、燃烧程度、脱硫剂、脱硫效率等的影响,与普通煤粉锅炉的灰渣相比,流化床燃煤固硫渣有其特殊的火山灰活性,同时因为含有SO3、f-CaO而具有自硬性和膨胀性,是一种特殊的火山灰材料。
设计衣服的英语作文Designing clothes is a multifaceted process that requires a unique blend of creativity, technical expertise, and an understanding of consumer preferences. As a designer, one must possess the ability to translate abstract ideas into tangible garments that not only captivate the eye but also meet the functional needs of the wearer. The journey of designing clothes is a fascinating exploration of the intersection between art and industry, where the designer's vision is brought to life through a series of intricate steps.The design process typically begins with research and inspiration. Designers meticulously study current fashion trends, historical influences, and cultural nuances to identify the aesthetic direction they wish to pursue. This research phase is crucial in establishing a strong conceptual foundation that will guide the subsequent stages of the design process. Designers may also draw inspiration from the natural world, architectural elements, or personal experiences, allowing their unique perspectives to shape the design.Once the initial concept has been established, the designer mustdelve into the technical aspects of garment construction. This involves selecting the appropriate fabrics, textures, and materials that will not only complement the design but also provide the desired level of comfort and durability. Designers must consider factors such as fabric weight, drape, and stretch, as well as the practical considerations of the garment's intended use. The selection of materials is a delicate balance between aesthetics and functionality, as the designer strives to create pieces that are both visually appealing and comfortable to wear.The next step in the design process is the creation of sketches and technical drawings. These visual representations serve as a blueprint for the garment, allowing the designer to experiment with different silhouettes, proportions, and details. Sketching enables the designer to refine their ideas and explore various design possibilities before committing to a final prototype. The sketches also provide a valuable communication tool, allowing the designer to collaborate with pattern makers, seamstresses, and other members of the production team.Once the sketches have been finalized, the designer must translate their vision into a three-dimensional form. This involves the creation of a pattern, which is a template that guides the cutting and assembly of the garment. Pattern making is a highly technical skill that requires a deep understanding of garment construction and theability to manipulate fabric to achieve the desired shape and fit. Designers often work closely with experienced pattern makers to ensure that the final pattern accurately reflects their design intent.The next phase of the design process is the construction of the garment prototype. This involves the cutting and sewing of the fabric according to the pattern, allowing the designer to evaluate the fit, drape, and overall aesthetic of the piece. During this stage, the designer may make adjustments to the pattern or the construction techniques to refine the garment and ensure it meets their vision. The prototype serves as a crucial tool for the designer to identify any issues or areas for improvement before the final production.As the design process progresses, the designer must also consider the practical aspects of manufacturing and production. This includes factors such as cost, scalability, and the availability of materials and resources. Designers must work closely with production teams to ensure that the garment can be produced efficiently and cost-effectively, while still maintaining the integrity of the original design.Throughout the entire design process, the designer must remain attuned to the needs and preferences of the target market. This requires a deep understanding of consumer behavior, fashion trends, and the competitive landscape. Designers must be able to anticipate the desires of their audience and translate those insights intogarments that resonate with their customers. This ability to connect with the consumer is a critical component of successful fashion design.In conclusion, the design of clothes is a multifaceted and complex process that requires a unique blend of creativity, technical expertise, and market awareness. From the initial research and conceptualization to the final production and delivery, the designer must navigate a series of intricate steps to bring their vision to life. The ability to balance aesthetics, functionality, and commercial viability is the hallmark of a successful fashion designer, one who can captivate the senses and meet the evolving needs of the modern consumer.。
窗花英语介绍1. The History of Window FlowersThe art of window flowers dates back to ancient China, where they were first used to decorate palaces and temples. Over time, as the craft spread to ordinary homes, it evolved and diversified, reflecting the cultural and social changes of the era.2. Materials Used in the Creation of Window FlowersThe primary materials for making window flowers are paper and scissors. Other tools, such as knives and fine-tipped markers, may also be used for intricate designs or when working with thicker materials. The choice of paper determines the texture and durability of the final product.3. Pattern Types in Window FlowersWindow flowers come in a myriad of patterns, including floral designs, abstract shapes, and even depictions of famous landmarks or cultural symbols. These patterns often carry deep cultural and symbolic meanings, symbolizing luck, prosperity, or wishes for a good harvest.4. The Significance of Window Flowers in Chinese CultureIn Chinese culture, window flowers are a symbol of good luck and are often hung during important festivals or auspicious occasions. They are believed to bring positive energy and ward off evil spirits. Their beauty and symbolism make them a popular gift during specialoccasions.5. Modern Applications of Window FlowersAlthough the traditional craft has faced some challenges in recent decades, modern designers have found new applications for window flowers. These range from interior design to packaging and even fine art. Their unique patterns and rich cultural symbolism make them a valuable addition to any design project seeking a touch of traditional elegance.6. The Preservation and Transmission of Window Flower CraftsmanshipEfforts are being made by both the government and private organizations to preserve this dying art form. Initiatives include documenting traditional techniques, promoting workshops for young learners, and working with communities to ensure the craft's survival.7. The Impact of Window Flowers on Modern DesignThe intricate patterns and rich symbolism of window flowers have had a profound impact on modern design. They have influenced not only traditional crafts but also graphic design, textile design, and even advertising. Their timeless beauty and cultural significance continue to inspire designers today.。
三星堆铜鸟英语介绍Introduction to the Bronze Bird of SanxingduiThe Bronze Bird of Sanxingdui is a remarkable artifact from the Neolithic period, discovered in the Sanxingdui Ruins site in Sichuan province, China. This site is famous for its unique and diverse collection of bronze artifacts, offering insights into the rich cultural and artistic traditions of ancient China.The Bronze Bird is a small yet intricate piece, measuring approximately several inches in length. It is made of bronze, a material that was highly valued in ancient times for its durability and aesthetic properties. The bird is meticulously crafted, exhibiting fine details and a high level of craftsmanship.The design of the Bronze Bird is both abstract and realistic. It depicts a bird with a slender body, a pointed beak, and elaborate feathering. The bird's wings are spread out, giving it a sense of dynamic movement. The overall appearance is both elegant and powerful, reflecting the skilled artisanship of the ancient Chinese.The Bronze Bird of Sanxingdui is not just an object of art; it also holds significant cultural and historical value. It provides evidence of the advanced bronze-making techniques and artistic styles of the Sanxingdui culture. Furthermore, it offers insights into the ancient Chinese's understanding and representation of birds, which were often considered symbols of freedom, power, and divinity.In conclusion, the Bronze Bird of Sanxingdui is a remarkable artifact that embodies the rich cultural heritage and artistic genius of ancient China. It serves as a testament to the ancient Chinese's exceptional skills in bronze casting and their profound understanding of natural forms. This artifact continues to fascinate and inspire people from all over the world, who are fascinated by its beauty and historical significance.。
Into an Unknown WorldA、Brain chips mean we are struggling to distinguish our own thoughts from ideas implanted by advertisers.Self-driving cars restrict old.school human dr ivers to special recreation parks.And the optimal(最佳的)number offingers is 1 2.5.B、Confused?It’s a vision of the world in 25 years,as dreamed up by today’s researchers in computer-human interaction(CHI).C、CHI normally means investigating better ways for people to interact with devices we have now,but last week attendees at the annual conference in Toront 0,Canada,got ahead of themselves.They created an imaginary conference agenda for 2039 that predicts the kinds of challenges we will face with future compute rs--many of which will be implanted.D、“It’s meant to be sort of the fringes(边缘)of human--computer interact ion research,what’s really edgy or provocative,”says Eric Baumer of Cornell University in Ithaca,New York,who dreamed up the idea of the conference.“Th ere’s a lot of retrospective thinking about the past,but there’s not as much thinking about what are the futures toward which we think we’re working.”E、We used the abstracts to create a list of the questions we—or more accu rately.our cyborg descendants--might have about computers in 2039.Is it weird when my organs talk to each other?F、In an abstract entitled“My liver and my kidney compared notes”,IBM re searcher Michael Muller,based in Cambridge,Massachusetts,looks at what happen s when the implanted monitors on people’s intemal organs—a network he calls A rterionet--are able to share data and pool knowledge to offer enhanced health t ips.G、His conclusion:“While most users were skeptical.many users proposed a dditional features that could lead to greater acceptance and compliance with su ch recommendations.”H、It’s worth thinking about how people might deal with health tips from o rgan monitors.Wearable technology that tracks your activity or your health sta tus is slowly gaining popularity while researchers earlier this year implanted power-generating silicone strips on the hearts,lungs and diaphragms(横膈膜) of live cows,pigs and sheep.Muller says the biggest challenge to creating Arteri onet will be figuring out how to fit the artificial intelligence in a sufficien tly small and safe package.Why do plants need their own Facebook,again?I、To understand this question,you need to know about Plantastic,the brai nchild of Bill Tomlinson and his colleagues at the University of California at Irvine.J、In their abstract,they reason that to make our food supply more sustain able,it may make sense to grow more fruits and vegetables close to home.But c ertain crops thrive when they’re grown in large quantities or alongside certai n other plants--too tall all order for the average farmer.K、Enter Plantastic,which would advise what plants would work best for you r area and tell you what people in the neighbourhood are growin9.Nanochips on plants would feed data back to the site.That information in turn could be used to 1earn more about what grows best in which environment.L、Assuming people will want to know whether this adds anythin9,Tomlinson’s team created a fictional(虚构的)study that looks at l o backyard gardens over two growing seasons.It suggests that using Plantastic will increase yields by 4 to 12 percent.M、Tomlinson’s graduate student Juliet Norton is working on an early versi on of what the online system might look like.Autonomous cars have made driving so boring--what shall I do instead?N、Andreas Riener at the Institute for Pervasive Computing in Linz.Austria,has written an abstract that starts with a bold view of the future:“The first self-driving car cruised on our roads in 2019.Now,20 years after,it is time to review how this innovation has changed our mobility behaviour.”O、This vision is rooted in a real trend.Self-driving cars have been makin g headlines for several years now.They are legal to drive in the state of Neva da.and Google’s driverless car has already racked up hundreds of thousands of practice miles.P、Reiner’s contribution is to explore how this will change us.He predict s that once the robots take the wheel everywhere.many of us will lose interest in driving altogether.Fewer of us will own our own cars.Those who do won’t w aste as much time pimping them out or driving around iust for fun.People who s till love cars might have to seek their thrills in special“recreation parks”.w here they can drive manually in an artificial environment.“If the vehicles of the future are only a means to get from A to B,this car culture would get los t.”he says.Did I just think up that idea or did an advertiser implant it?Q、Multiple contributors to CHl 2039 ponder the future of brain implants.W hether it involves capturing input from each of our senses or recording neurons(神经元)directly in the brain,they assume that this one is a question not of i f but when.And that could bring opportunities--and challenges.R、Shachar Maidenbaum of the Hebrew University of Jerusalem,Israel,envisi ons devices that could record our day-to-day experiences and then allow US to s hare our memories with one another,revolutionising courts,classrooms,and our social interactions.S、Daniel Gruen of IBM Research,meanwhile,envisions devices that could pr ompt your memory when you forget something.一with some darker consequences.“I magine in the future that you have systems that help you with memory,”he say s.“At what point do you start wondering.‘Wait.I’ve had an idea.Is that r eally mine or is that idea coming from somewhere else?”’So,what is the ideal number of fingers?T.、Ever strain yourself swiping across your iPhone screen?That problem wou ld go away if you could have an extra thumb surgically(手术地)attached to your hand.U、That’s the starting point for a fictitious study of l 24 people who hav e chosen to augment their hands with bionic(仿生的)fingers--on average they hav e 13.4 digits.Johannes Schfnin9,a computer scientist at Hasselt University i n Belgium,even comes to an intriguing conclusion:“The optimal finger count i s l 2.5,with six normal—sized fingers on each hand and the dominant hand hav ing an extra half-sized finger that can be moved with 6 degrees of freedom.”V、It’s entertaining stuff but even SchSning admits that 25 years might no t be long enough for this one to appear.46.In his article.Michael Muller investigates the consequences of Arterionet’s being capable of sharing information to supply extra strong health advices.47.CHI refers to the exploration ofbetter means for people to interact with to day’s equipments,but during last week’s yearly meetin9,participants propose d a future vision of CHI.48.To prove if Plantastic is really helpful.Tomlinson and his colleagues cond ucted an imaginary research which investigates l o family gardens over 2 planti ng seasons.49.Autonomous cars have become a hot topic since many years a90.50.It deserves to be taken into account that what people will do to treat the health secrets offered by organ monitoring units.51.In the paper,Tomlinson and his partners infer that to increase the endurabi lity of our food supply,it is necessary to plant more fruits and vegetable nearour houses.52.Bionic finger is an interesting stuff but even SchSning doubt whether it ca n be created during the next25 years.53.At the same time.IBM research Daniel Gruen imagines some kind of equipment s that Call remind you of things you forget,which leads to bad results, 54.We always think a lot about the past,but we seldom consider the future lif e we’re trying to create.55.In 2019.our roads saw in the first autonomous car.And the year 2039 is th e time for us to consider to what extent this creation has transformed our movi ng styles.46.In his article.Michael Muller investigates the consequences of Artefionet’s being capable of sharing information to supply extra strong health advices.在他的文章中,迈克尔·穆勒研究了Arterionet内部能够共享信息并提供养生秘诀时带来的后果。
英语作文描写瓷器的句子Ceramics, exquisite in their delicacy and timeless in their allure, embody the rich cultural heritage of humanity. The intricate patterns, vibrant colors, and smooth surfaces of porcelain and pottery have captivated hearts and mindsfor centuries, transcending geographical boundaries and epochs.Porcelain, often referred to as "white gold," is renowned for its translucency and durability. Each piecetells a story of meticulous craftsmanship and artistic vision. From the Ming dynasty's elegant blue-and-white designs to the delicate floral motifs of European porcelain, these treasures reflect the aesthetic preferences and technical expertise of their creators.Pottery, with its earthy charm and rustic appeal, celebrates the beauty of imperfection. Handcrafted withclay and fired in kilns, pottery pieces bear the marks of the artisan's hands, embodying a sense of warmth andauthenticity. Whether it's the rustic charm of Japaneseraku ware or the vibrant hues of Mexican Talavera pottery, each piece carries a unique narrative of culture and tradition.The allure of ceramics extends beyond their aesthetic appeal; they also serve as vessels of cultural exchange and communication. Throughout history, ceramics have traversed trade routes, connecting distant civilizations andfostering cultural exchange. From the Silk Road's transmission of Chinese porcelain to the global diffusionof Italian maiolica, ceramics have facilitated the exchange of ideas, values, and artistic techniques across continents.Moreover, ceramics play a significant role in dailylife, serving both utilitarian and ceremonial purposes. From the humble teacup to the ornate vase, ceramics enrich our lives with their functionality and beauty. In rituals and celebrations, ceramics often take center stage, symbolizing prosperity, fertility, and spiritual reverence. Whether it's the ornate tea ceremonies of Japan or the elaborate pottery traditions of Native American cultures,ceramics are deeply intertwined with human experience and expression.In contemporary society, ceramics continue to inspire artists and artisans to push the boundaries of creativity and innovation. Experimentation with glazes, firing techniques, and forms has led to a diverse array of contemporary ceramic art, ranging from abstract sculpturesto avant-garde installations. Through exhibitions, galleries, and online platforms, ceramic artists sharetheir vision with the world, enriching our cultural landscape and challenging our perceptions of art and beauty.In conclusion, ceramics are not merely objects; theyare embodiments of human ingenuity, creativity, andcultural identity. From ancient civilizations to modern-day artisans, the legacy of ceramics endures, reminding us of our shared humanity and the enduring power of artistic expression. As we marvel at the beauty of a delicate porcelain vase or the rustic charm of a handmade pottery bowl, let us appreciate the timeless allure of ceramics and the profound impact they have had on our world.。
后现代文化下的翻译后现代文化下的翻译一、引言后现代主义论文自兴起以来,它一直冲击着文学艺术和社会文化。
在这种思潮的冲击之下,翻译活动不再被认为是文本间的语符转换,一种机械的复制和模仿,而是一种对话性活动,一种信息的传播活动。
1990年,翻译的文化学派代表人物马斯奈特(Bassnett)和勒弗维尔(Lefevem)提出了“翻译的文化学转向”这一口号,标志着翻译的文化学派的兴起。
既然翻译从本质上来看是一种文化传播活动,那么,译者所肩负的使命就不应仅仅是将原文的语言信息在译文中予以再现,而且还应尽可能地传达原文的文化信息,尤其在处理含有文化色彩的语句时译者更应牢记所肩负的职责。
就英汉两种语言之间的翻译来说,译者不仅要向汉语读者介绍西方的文化,更多的是要向外界介绍我们中国的文化。
二、后现代文化语境下翻译的任务美国文化理论家弗德里克·杰姆逊一方面看到后现代、后殖民时期全球文化的趋同性,另一方面也看到当今世界图景中不同文化系统的冲突和对抗性。
第一世界拥有文化输出的主导权,而第三世界文化则处于边缘地位,只能被动地接受这种文化的侵略。
因此,第三世界文化要采取正确的文化策略,使本土文化展现出新风貌,通过文化对话求同存异,进而走向世界。
杰姆逊期望第三世界文化真正进入与第一世界文化对话的话语空间,破除第一世界文化的中心性,进而在后现代、后殖民文化潮流中,展示第三世界文化的风格。
随着欧洲中心主义的破灭,东方文化或第三世界文化,这种另类文化的价值和内涵正逐步被认识、弘扬,东方文化在学术研究界的地位越来越重要。
若使东西方文化平等对话、相互交流、相互了解,翻译是一个不可缺步的中介;它已经成为文化交流的背景和桥梁,而这种交流既包含着认同、发挥、重建,也伴随着误读、转义、剥离和解构,形成了一个无止境的变通过程。
面对整个世界文化的多元化趋势,如果孤立地、盲目地提倡国学,很可能游离于世界文化思潮的发展之外。
张岱年认为,文化系统具有可解析性和可重构性,文化要素间具有可离性和可相容性,并主张对文化结构进行重构,创造新的文化系统。
关于景德镇瓷器的英语作文Nestled within the verdant hills of Jiangxi province, China, lies the ancient city of Jingdezhen, renowned worldwide for its exquisite porcelain craftsmanship. For centuries, this region has been synonymous with the finest ceramic art, attracting artisans and enthusiasts from all corners of the globe. The story of Jingdezhen porcelain is not just one of craftsmanship but also a testament to the deep cultural and historical roots of China.The history of Jingdezhen porcelain dates back to the Song dynasty, when the town emerged as a significant center for ceramic production. Over the centuries, its reputation grew, reaching its peak during the Ming and Qing dynasties. This period saw the development of innovative glazes, intricate designs, and unparalleled craftsmanship, making Jingdezhen porcelain a highly prized commodity in both domestic and international markets.The uniqueness of Jingdezhen porcelain lies in its meticulous attention to detail, the use of high-quality materials, and the skillful hands of the artisans. The clay used in these ceramics is specially selected and refined,ensuring durability and a unique texture. The glazes, ranging from透明釉 to various colored varieties, are carefully applied to create a range of effects, from the subtlest of nuances to the most vibrant hues.What truly sets Jingdezhen porcelain apart is the intricate carvings and designs. These are often inspired by nature, with motifs ranging from flowers and birds to landscapes and abstract patterns. The artisans use a combination of carving, painting, and glazing techniques to create these designs, each piece being a unique work of art in itself.The craftsmanship behind Jingdezhen porcelain is a testament to the dedication and skill of generations of artisans. The process, from selecting the raw materials to the final firing, involves numerous steps, each requiring meticulous attention. The artisans, many of whom areskilled in the traditional techniques passed down through generations, are the true guardians of this heritage.The appeal of Jingdezhen porcelain is not just aesthetic. It also carries a deep cultural significance. These ceramics are often used as symbols of prosperity andgood fortune, making them popular gifts on special occasions. They are also prized by collectors and museums worldwide for their historical value and artistic merit.In recent years, Jingdezhen porcelain has experienced a renewed interest, with many contemporary artists experimenting with traditional techniques to create modern and innovative designs. This fusion of old and new has not only kept the craft alive but also expanded its reach to a younger, more global audience.In conclusion, Jingdezhen porcelain is not just a product of skilled craftsmanship; it is a symbol of Chinese culture and history. Its unique charm lies in the harmonious blend of art, craft, and tradition, making it a timeless masterpiece that continues to captivate and inspire. As the world becomes increasingly interconnected, the beauty and craftsmanship of Jingdezhen porcelain will undoubtedly continue to resonate with people from all corners of the globe.**景德镇瓷器的独特魅力**在中国江西省的翠绿群山之中,坐落着古老的城市景德镇,这里以精湛的瓷器工艺闻名于世。
向外国人介绍中国传统艺术英语作文Title: Embracing the Essence of Chinese Traditional Art Deeply rooted in the vast soil of Chinese civilization, traditional art forms not only reflect the rich cultural heritage of the nation but also embody the profound wisdom and aesthetics of its people. These arts, ranging from painting and calligraphy to ceramics and opera, are a testament to the creative genius and artistic prowess of China throughout the ages.At the forefront of Chinese traditional art stands painting, a medium that captures the essence of nature and the spirit of the times. From the meticulous brushwork of landscape paintings that depict mountains and rivers with such lifelike detail, to the abstract ink splashes of literati paintings that express the inner world of the artist, Chinese painting is a visual feast for the eyes and the soul. The use of ink, brush, and paper, along with the principles of yin and yang, complementarity, and harmony, create a unique aesthetic that is instantly recognizable as Chinese.Closely aligned with painting is the art of calligraphy, which is not just writing but a form of visual expression. The elegant lines and dynamic curves of Chinese characters, when executed with skill and finesse, become works of artin themselves. Calligraphy requires years of practice and mastery, reflecting the artist's personality and emotional state. It is a testament to the belief that beauty lies not only in form but also in the spirit behind it.Ceramics, another cornerstone of Chinese traditional art, has a long and illustrious history. From the Neolithic pottery of ancient times to the intricate porcelain of the Ming and Qing dynasties, Chinese ceramics have always been prized for their beauty, durability, and craftsmanship. The use of different clays, glazes, and firing techniquesresults in a range of colors, textures, and shapes that are both functional and decorative.Chinese opera, or xiqu, is a performing art that combines music, dance, drama, and acrobatics. Each genre of opera, such as Peking Opera or Cantonese Opera, has its unique repertoire of stories, costumes, makeup, and music. The actors, through their singing, acting, and movement,bring the characters and stories to life, captivating the audience with their artistic talents.These art forms, though distinct in their execution and expression, share a common thread: they are all expressions of the Chinese people's profound understanding of the world and their place within it. They reflect the nation's values, beliefs, and aspirations, and are passed down from generation to generation as a means of culturaltransmission and identity preservation.In today's world, where globalization and technological advancements are reshaping our cultural landscapes, it is important to preserve and promote Chinese traditional art. These arts not only enrich our cultural heritage but also provide a window into the soul of the Chinese people and their rich history. By embracing and appreciating these art forms, we can gain a deeper understanding of China and its unique cultural contributions to the world.In conclusion, Chinese traditional art is a vast and diverse field that offers a glimpse into the depth and breadth of Chinese culture. From the elegance of painting and calligraphy to the craftsmanship of ceramics and thevibrancy of opera, these art forms are a testament to the creative genius and artistic prowess of the Chinese people. By exploring and appreciating them, we can gain a deeper appreciation for the beauty and wisdom that lie within them.。
文化研究:两种范式(1980)斯图亚特·霍尔(Stuart Hall)孟登迎译严肃的、富有批判性的学术工作(intellectual work)没有“绝对的开端”,也鲜有不间断的连续性。
无论是思想史(History of Ideas)钟爱的对于“传统”的无限展开,还是阿尔都塞主义者(原文为Althussereans,疑为Althusserians之误——译注)偏爱的将思想(Thought)标注为“正确”或“错误”要素的“认识论断裂”的绝对论,都是如此。
相反,我们看到的是一种凌乱但带有显著特征的发展不均衡性。
重要的是那些有重大意义的断裂——陈旧的思路在此处被打断,陈旧的思想格局(constellations)被替代,而围绕一套不同的前提和主题,新旧两方面的各种因素被重新组合起来。
一个问题架构(problematic)的变化,明显转变了所提问题的本质、提问题的方式和问题可能获得充分回答的方式。
理论视角上的这些转变,不但反映出内在的学术劳动所产生的结果,而且反映出真实的历史发展和变化被纳入思想的方式及其为思想提供的存在条件——并不确保思想的“正确”,而为思想提供最根本的倾向。
正是由于思想与反映在社会思想范畴当中的历史现实之间的这种复杂的接合(articulation)以及“权力”与“知识”之间持续的辩证法(continuous dialectic),才使得这些断裂具有了记载价值。
文化研究作为一种独特的问题架构,兴起于20世纪50年代中叶那一时期。
当然,与文化研究相关的一些具体的问题,已经不是第一次被提上桌面了。
事实正好相反。
两本有助于考察这一新领域的著作——霍加特(Hoggart)的《文化素养的用途》(Uses of Literacy)和雷蒙·威廉斯的《文化与社会》——都是以不同方式(在某种程度上)重新探讨这些问题的成果。
霍加特的书参考了“文化论战”的内容,始终坚持那些有关“大众社会”的论断以及那种认同利维斯(Leavis)和《细读》(Scrutiny)的研究传统。
中国传统技术英语简单作文China's Traditional Techniques: A Brief ExplorationChina has a rich and diverse cultural heritage that spans thousands of years. One of the most fascinating aspects of this heritage is the country's traditional techniques, which have been passed down through generations and continue to captivate people around the world. From the intricate art of calligraphy to the delicate craftsmanship of porcelain, these techniques showcase the ingenuity and creativity of the Chinese people.One of the most iconic traditional techniques in China is the art of calligraphy. Calligraphy is not just a form of writing but a true art form that requires years of practice and dedication. The Chinese calligrapher uses a brush, ink, and paper to create beautiful and expressive characters that convey a sense of harmony and balance. Each stroke of the brush is carefully considered, and the final product is a work of art that reflects the calligrapher's skill and emotional state.Another traditional technique that has gained global recognition is the art of porcelain making. China is renowned for its exquisiteporcelain, which has been produced for centuries using a unique blend of materials and techniques. The process of creating porcelain is a complex one, involving the careful selection and preparation of raw materials, the shaping and firing of the clay, and the application of intricate designs and patterns.One of the most fascinating aspects of traditional Chinese porcelain is the use of glazes. These glazes are created using a variety of minerals and chemicals, and they are applied to the surface of the porcelain before firing. The result is a smooth, glossy surface that can be decorated with a wide range of designs, from delicate floral patterns to bold, abstract motifs.Another traditional technique that has captured the imagination of people around the world is the art of silk production. China has been a leader in silk production for centuries, and the country's silk is renowned for its softness, luster, and durability. The process of producing silk involves the careful cultivation of silkworms, the reeling of the silk fibers, and the weaving of the fabric.One of the most fascinating aspects of traditional Chinese silk production is the use of natural dyes. These dyes are made from a variety of plants and minerals, and they are used to create a wide range of colors and patterns on the silk fabric. The process of dyeing silk is a complex one, and it requires a great deal of skill andknowledge to achieve the desired results.In addition to these well-known traditional techniques, China also has a rich history of other traditional crafts and skills. For example, the art of jade carving has been practiced in China for thousands of years, and the country's jade artisans are renowned for their skill and creativity. Similarly, the art of paper cutting has been a part of Chinese culture for centuries, and the intricate designs and patterns created by Chinese paper cutters are truly remarkable.One of the most fascinating aspects of China's traditional techniques is the way in which they continue to evolve and adapt to the modern world. While many of these techniques have been practiced for centuries, they are also being embraced by contemporary artists and designers who are finding new and innovative ways to incorporate them into their work.For example, some contemporary Chinese artists are using traditional calligraphy techniques to create bold and abstract works of art that challenge the boundaries of the traditional art form. Similarly, some designers are incorporating traditional porcelain techniques into their product designs, creating unique and innovative pieces that blend the old and the new.Overall, China's traditional techniques are a testament to theingenuity and creativity of the Chinese people. They are a living, breathing part of the country's cultural heritage, and they continue to captivate and inspire people around the world. Whether it's the graceful strokes of a calligrapher's brush or the intricate patterns of a porcelain vase, these traditional techniques are a testament to the enduring spirit and artistry of the Chinese people.。
‘齐齐哈尔大学学报“(哲学社会科学版)2023年10月Journal of Qiqihar University(Phi&Soc Sci) Oct.2023 收稿日期:2023-03-14 作者简介:冯玲玲(1987-),女,讲师,硕士㊂主要从事声乐教学和舞台表演研究㊂琴乐合鸣:论中国古诗词艺术歌曲与古琴音乐的融合冯玲玲(阜阳幼儿师范高等专科学校艺术和体育学院,安徽阜阳236000)摘 要:古琴艺术和古诗词艺术歌曲同为中华民族音乐文化体系的结晶,都具有文脉悠久而意境独特的文化特征㊂古琴音乐是中华民族音乐审美和人文精神的典型代表,古诗词歌曲是中华民族传统文学与音乐的结合,两者的艺术特征均源于中国传统文化的 抒情咏志”㊂在时代语境中,当代音乐文化艺术的发展,需要古为今用,吸收古代扎根传统文化底蕴的精髓,去其糟粕,对古诗词艺术歌曲与古琴音乐的融合加以研究,能够当今音乐创作提供相应的借鉴㊂关键词:古琴;古诗词歌曲;融合中图分类号:J632.31;J616 文献标识码:A 文章编号:1008-2638(2023)10-0146-04Harmony of qin and music :On the integration of ancient Chinese poetry and Guqin musicFENG Ling -ling(College of Arts and Physical Education,Fuyang Preschool Teachers College,Fuyang Anhui 236000,China) Abstract :Guqin art and ancient poems and art songs are the crystallization of the Chinese music and culture system,and bothhave the cultural characteristics of a long context and unique artistic conception.Guqin music is a typical representative of the aestheticand humanistic spirit of Chinese national music.Ancient poetry and songs are the combination of traditional Chinese national literature and music,and the artistic characteristics of both are derived from the "lyric chant"of Chinese traditional culture.In the current era,it is crucial to conduct a comprehensive exploration of contemporary music culture and art,considering both historical and present per⁃spectives.This entails incorporating valuable elements from traditional culture,while eliminating irrelevant aspects,and investigating the harmonious integration of ancient poetry,art songs,and guqin music,which can provide corresponding reference for today’s musicrefer⁃ence for today's music creation. Key words :Guqin;ancient poetry and songs;fusion 古琴(又称七弦琴)和古诗词艺术歌曲同为中华民族音乐文化体系的结晶,都具有文脉悠久而意境独特的文化特征㊂古琴音乐作为我国传统音乐艺术的精华,是中国传统音乐审美价值观和人文精神的体现㊂依照古琴音乐的表现形式,可分为独奏㊁琴箫合奏和琴歌三种㊂在弘扬中华民族传统文化的语境中,对中国古诗词艺术歌曲与古琴艺术的融合加以研究,既能够给当代古诗词歌曲的创作提供有益借鉴,同时对丰富古琴演奏技法和表演,促进我国传统音乐文化中古琴艺术的发展也有着重要的现实意义㊂一㊁问题的提出追溯起来,我国以诗为歌的历史年代久远,早在‘尚书㊃益稷“中就有 搏拊琴瑟以咏”的记载㊂[1]就发展历程而言,古诗词歌曲先后历经先秦㊁汉魏㊁隋唐㊁宋元㊁明清等朝代,经由先秦时的 三百五篇孔子皆弦歌之,以求合‘韶“‘武“‘雅“‘颂“之音”[2]的形态初具,至汉魏的 相和歌”流行,[3]再至隋唐的进一步成熟和宋元时的盛行㊂明清以后,由于过分侧重于对 正文对音”地强调,[4]导致古诗词歌曲的艺术表现力逐渐僵化,受众范围逐渐缩小,不可避免地走向式微㊂就艺术表现形式而言,古诗词歌曲大致可分为三个阶段,第一阶段是以 原诗原曲”为主的艺术风格,如孔子弦以歌之的‘诗经“305篇㊁诗人屈原的‘楚词“;[5]第二阶段是以 原诗配曲”为主的艺术风格,如唐朝诗人依格律而吟诵的 五言”㊁ 七言”诗和宋元时期的按词制调㊁依调填词等;第三阶段是明清时以散曲为代表的艺术风格㊂由于古诗词歌曲负载着诗词语言所独具的格式与韵律美, 韵味”一向为古诗词歌曲所强调,其所具备的吟诵㊁精练㊁怡情㊁言志等,是古代琴歌显著的艺术特色㊂现代中国古诗词歌曲,学界普遍认为形成于20世纪20年代㊂1920年,青主以北宋词开豪放派诗人苏轼的代表作‘念奴娇㊃赤壁怀古“为依照,并借鉴西方作曲的音乐风格去创作的‘大江东去“,既有苏轼原词的气势雄浑㊁意境开阔,又有与原词交相辉映的旋律舒展㊂其古典主义与浪漫主义相交织的曲式结构,展示出了诗与歌相融㊁歌与曲共鸣的艺术魅力,被视为现代中国古诗词歌曲的开山之作㊂此后,我国的古诗词歌曲创作虽然受多种因素的影响进展缓慢,与数量巨大的现代歌曲相比作品较少,但探索的脚步一直没有停止,许多有志于中国传统音乐的音乐家以自己的独特体验,尝试着对古典诗词以演唱式的诠释,如黄自的‘花非花“(白居易)㊁王龙的‘锦瑟“(李商隐)㊁赵思越的‘秋风词“(李白)㊁黎英海的‘枫桥夜泊“(张继)等都属古诗词艺术作品㊂改革开放后,随着我国传统音乐文化复兴进程的加快,涉及古诗词歌曲的理论研究也获得相应发展,研究越发深入,涉及层面也愈加丰富立体㊂但总体来看,对古诗词歌曲的研究多侧重于歌曲的艺术风格㊁艺术流派以及演唱技巧的探讨,对与之相呼应的伴奏音乐之间关联关系的研究涉及较少,即使所探讨的是当代古诗词歌曲二度创造的音乐特色,也往往从西方音乐的视角切入㊂这种研究固然有助于我们从中西文化交流的视角解读当代中国古诗词歌曲,但却往往由于缺乏对民族乐器在古诗词歌曲中作用和地位地研究流于空泛㊂对古诗词歌曲而言,无论旋律如何变化, 古诗词”才是其创作本体,诗词所蕴含着的 韵”,作为诗人内在风骨在文学作品中的折射,既具有很强的精神境界意味,又有按照诗词格律和平仄进行行腔布调的特征,对与古诗词同根同源传统民族器乐的疏离,实际上是对古诗词抒发 哀心㊁乐心㊁喜心㊁怨心㊁怒心㊁敬心㊁舒心㊁爱心”不同心绪和内心情感方式方法的疏离,因而在对中国古诗词歌曲进行研究时,首先要做的就是对传统民族器乐进行细读㊂目前随着传统文化的弘扬和西方音乐思想的渗入,中国古诗词歌曲将会受到来自各种艺术风格的尝试和挑战,在秉承传统与创新变革相互交织的呼声中,我们需要做的是对中国古诗词歌曲与古琴艺术的相互融合进行系统的梳理和深究㊂这是因为,当代艺术歌曲的创作必然要借鉴我国传统的音乐文化,对中国古诗词歌曲与古琴融合的艺术效果认真地加以观照,可以让我们更清楚的看到当代中国古诗词歌曲要如何更好的发展㊂而且,当前文艺复兴文化研究的不断变更,也使传统的音乐文化艺术形式面对时代变革和发展的严峻挑战㊂中国古诗词歌曲是一种有别于大众化的艺术音乐形式,我国古诗词艺术歌曲是一种独特的而有魅力的演唱形式,其生机勃勃固然让人欣喜,让人震惊而兴奋,各种探究和尝试以及暴露出来的问题也催人思索㊁耐人寻味㊂在弘扬传统文化的语境中对中国古诗词歌曲进行比较与反思,将使我们能够在弘扬传统文化领域充分地介入讨论并发出中国学者的声音㊂古琴作为中华民族传统文化 琴棋书画”的代表,扎根于中国传统文化土壤,音质和平而静远,音色虽然不似西方音乐以丰富的织体和纵横交叉的网状铺叠呈现出刚性的力度美,但其于线性结构中所展现出来的令人回味无穷的虚实映带㊁流衍变化的美学特征,不仅有着自然山川之灵气的精美,也有着人类丰富情思的凝聚力,与同为人类丰富情思的诗词有着异曲同工之妙㊂当我们对古诗词歌曲的艺术成就加以考量时,古琴所凝聚着的民族智慧㊁高度技巧性的艺术因子,能够帮助我们更为有效地把握古诗词歌曲的内在意境㊂二㊁古琴音乐的源远流长古琴,亦称七弦琴,是中国传统拨弦乐器,至今已有三千多年历史,是当今世界上最古老的㊁最稀有的㊁最有生命力的艺术,唯中国所独有的艺术,是中国传统音乐文化的代表符号和瑰宝之一㊂根据文献记载,早在周朝时期,我国古琴就已在民间广泛流传,且备受广大人民喜爱和演奏㊂2008年,我国古琴艺术被联合国教科文组织列入人类非物质文化遗产,代表作品名录[6]㊂作为是中国文人所必备 琴棋书画”素养中的一种,还是传统文人士大夫自欣自乐寄托心境和情感的一种表现形式,弹琴时吟志的 手挥五弦目送归鸿”和陶渊明归隐田园中的 乐琴书以消忧”,都是对古琴曲绵而不断柔却远至㊁古音婉转而幽雅超尘脱俗的强化㊂古琴在长期的发展历程中,从先秦时期的‘诗经“‘楚辞“到唐朝的格律诗㊁宋元的曲牌词以及明清的散曲,古琴独特的音色表现力凝集了丰富的美学价值和文学价值,给世人留下了宝贵的艺术作品,古琴家查阜西在‘存见古琴曲谱辑览“一书中阐述,有精美的古琴歌辞337首,美妙的曲谱659首㊂古琴不仅造型优美,形神兼备,与自然现象相生相倚,其音色更具奇㊁古㊁透㊁静㊁圆㊁清㊁匀九德之美,抚琴者运用7根琴弦㊁13个徽,通过多样的拨弦指法,可以演奏出4个八度的美妙旋律㊂古琴的7个散音以空弦发音,其音浑厚而刚强有力㊁深沉而辽远,使人起远古之幽,是古琴曲调中的骨干音;古琴的91个泛音用左手去轻触徽位,弹拨出轻柔而空灵的乐音,如天籁之音;有一种让人清冷入仙的感觉,回味无穷,这样美妙的旋律多被用于最有心境表现力的曲调中;古琴中147个按音,以左手去按弦来发音,轻盈而灵活的移动按指,可以改变音高,得以加宽古琴的音域余音袅袅㊁悦耳动听,时如人语,像似对话;时如人心境,悠扬委婉,如慕如怨㊂三种音以线性构成立体化组合,作为一系列的衔接音列,单向型的旋律延伸有头有尾有变化,一贯到底,旋律起伏抑扬㊁快慢有致,富于诗意,人文意识浓厚,人们常用 太古之音”㊁ 天地之音”等来形容古琴的音域宽广㊁音色深沉㊁余音悠远㊂基于古琴集天地之音的安静悠远,深受儒家思想浸染的中国古于代文人视古琴为他们抒发人格心境的有效载体,他们往往依古琴五声调式为骨干音来创作音列结构,依据规范而对称的音乐结构原则,于均匀㊁平稳㊁和谐级进式的节奏中,从自然界的声音里抽取纯洁的音乐元素,视自然为有机整体,视自然万物皆有情,于悠悠琴韵声中将自己的心性导向自然㊁游于自然㊁归于自然,不断地对自己的人生经验以及社会百态进行反思,构筑起来一个个使内在生命为之激扬的审美维度㊂当音乐与内在的生命意识相碰撞㊁融合时,一首首美轮美奂的琴歌应运而生,‘渔樵问答“‘胡笳十八拍“‘杏花天影“‘满江红“等等琴歌,莫不是来不可遏却不能止,肆意挥洒,天机灵动于冲突处达到统一㊁于纡徐舒展中见飞扬的综合融通的艺术精品,诗的韵味款款流转㊂三㊁古诗词琴歌的人文意蕴古琴的演奏方式分独奏㊁合奏(琴与萧)㊁琴歌㊂其中,741 第10期琴乐合鸣:论中国古诗词艺术歌曲与古琴音乐的融合独奏与合奏是基于古琴的器乐属性,而琴歌则是声乐与器乐的结合,其具体的表现形式主要为弹奏者的抚琴而歌,‘琴史㊃声歌“中就有 歌则必弦之,弦则必歌之”的记载,‘诗经“中的歌曲大部分以琴㊁瑟作为伴奏乐器的表现形式也都佐证了琴歌是古代士大夫提升自身修养和参与社会活动的一项重要内容㊂琴歌之所以能够为中国文人所偏爱,一方面源于抚琴而歌的表达形式,能够满足中国文人在个人抱负与现实困境中向更为精妙的精神境界寻求情感抒发的需要;另一方面,古琴庄严肃穆㊁清澈淡远㊁典雅精致的音韵也与中国文人所推崇的意气轩昂㊁素雅清淡的性情人格相一致,与儒家倡导的和雅清逸㊁淡雅的审美思想相匹配㊂无论是古琴散音的旷远醇厚,还是按音的吟猱细微㊁飘渺深邃,抑或是泛音的委婉超尘都给予人以高雅飘逸之感,又与中国古诗词语言文化所具有的独特格调与韵律美相似,从而使古琴艺术和古诗词有了彼此相融相合的条件,并由此呈现出声韵㊁腔韵㊁意境三个美学特征㊂声腔”有两个含义,一个是古琴的音色,一个是诗人吟诵的发音㊂在诗词吟诵过程中,古琴所担负的是给人声伴奏的职责㊂不同的诗歌因不同的思想内容㊁艺术风格,所需要的伴奏音域也不同,这就需要吟诵者要选择与诗歌内容相一至的音色以达到相得益彰的艺术效果㊂例如,唐朝诗人王维的‘阳关三叠“原诗只有四句,要将诗中所浓缩着的与友人惜别时依依不舍的情感传神的表达出来,一方面需要吟诵者通过一次比一次升序的语调加以强化,而与之相伴的古琴音色也需要以 一时传送不足,至为三叠而歌之”加以辅助㊂ 第一叠:第二叠:第三叠: 第三叠是前两叠的结合,为烘托气氛,增加了副歌部分,所以强化了的跌宕起伏的旋律,紧扣吟诵者不舍却无奈的心绪㊂将第二叠的旋律素材放至整体乐曲的旋律处,即保持了整体旋律结构的完整,也使原诗惜别的意绪得到进一步延伸,从而产生了强烈的艺术感染力㊂腔韵所指是要与诗词的格律相一致㊂古琴伴奏的古诗词歌曲与其它音乐艺术的不同处在于 诗乐一体”㊂按照 乡谈折字”的要求,在吟诵古诗词歌曲时,要用最纯正的方言通过声音的频率加以表述㊂彼时琴与歌要取得音频上的和谐,就要依据吟诵的腔韵,按照古琴泛音与散音固定的规律以手指弹奏弦长,以所维持着的前松后紧的节奏,产生起伏有致的韵律感,与诗词吟诵既抑扬顿挫又悠长旷远的音调相协调,进而达到 谱外透韵”的艺术效果㊂意境一向为中国传统文化艺术所推崇,在以古琴为伴奏进行吟诵时, 静”是前提条件㊂这里的 静”有两层意义:一是要在安静的环境下去抚琴,二是要在安静的心境状态下去抚琴㊂明代著名琴家徐上瀛在‘溪山琴况“中提到: 和㊁静㊁清㊁远”等二十四字决句,精准的的阐述了古琴弹奏的运指㊁取音㊁用力等要点,系统的叙述了琴学的美学原则㊂要实现于清静中发美音,演奏者自身先要有 淡泊宁静,心无尘翳”的修为,才能达到 臻于大雅”的高度,而这个 臻于大雅”讲的就是意境㊂古诗词艺术和古琴艺术都对意境高度重视,基于琴歌中诗词与曲调的天然联系,曲中有诗㊁诗中有韵向来为古诗词歌曲创作所孜孜以求,力图以有限的旋律构建出意味无穷的想像空间㊂古琴曲中,无论是‘梅花三弄“空灵悠远㊁不曲不屈㊁余音绕梁㊁清越和雅逸,还是‘高山流水“山的巍峨雄伟和流水的宽广浩荡,‘渔樵问答“的悠然自得㊁飘逸洒脱㊁回归自然㊁乐于山水,都是以旋律为载体,构建出了值得再三品味的 情中景,景中情”的审美意象㊂四、古诗词艺术歌曲与古琴音乐的现代融合随着时代的变迁㊁社会的发展,古琴与古诗词艺术歌曲也已经从以前高高在上的 王榭堂前燕”的小众艺术,成为社会各阶层所广泛接纳的大众艺术,并逐渐向其它艺术种类如电子乐㊁电影等领域拓展㊂在推动古琴艺术传承与蜕变的进程中,一批如音乐家谭盾㊁瞿小松㊁郭文景㊁叶小钢㊁何训田㊁许舒亚等从现代意义上对传统音乐文化进行大胆深究和变841齐齐哈尔大学学报(哲学社会科学版)革,创作了一批更具时代气息㊁与当代审美流向更为贴切的古诗词歌曲㊂这些尝试与努力在很大程度上拓展了古诗词歌曲的音乐表达,在时代精华的展示和琴歌创作的灵活转向方面,都为古诗词歌曲的创新提供了宝贵的经验㊂但在以现代作曲法赋予民族音乐鲜明的时代特点㊁开掘民族音乐和现代手法之间的联系方面,也有一些创作者以部分不和谐构建整体和谐,一改传统曲调部分和谐达到整体和谐的旧规,把传统支声定作法和一些西方的现代技法相结合,试图给传统曲目以变革性㊁现代性的阐释等㊂客观地说,中国古诗词艺术歌曲是诗歌和音乐完美融合的艺术,曲风大多为含蓄内敛㊁典雅精致,恪守清逸㊁淡和的美学风范㊂因此,在音质和风格上,与古琴相生相伴的古诗词歌曲的音色塑造不仅与西方音乐和艺术歌曲有着很大的差异,就是与中国民歌和歌剧的音乐也大相径庭,因此要保持古诗词歌曲字正腔圆㊁韵味浓郁㊁意境旷远的艺术精华,就要处理好传承与创新的辩证关系㊂笔者认为,这种创新应该是基于传承的创新,是从对传统的坚守和珍视视角出发进行的相应编释,也就是说,在处理古琴与古诗词歌曲的关系时,围绕古琴音律进行阐述,彰显古琴音乐的语境功能,执守古琴音乐 心骨俱冷㊁体气欲仙”的意境美是根本所在,这方面黎英海先生作曲的‘枫桥夜泊“[7]具有很好的借鉴示范意义㊂‘枫桥夜泊“为唐代诗人张继所作㊂作为一首千古流传的佳作,用音乐语言把其中深远的意韵提炼出来是许多音乐家的心愿㊂上个世纪80年代初,黎英海先生以钢琴为伴奏形式将孟浩然的‘春晓“㊁王之涣的‘登鹳雀楼“与‘枫桥夜泊“一并改编为中国古诗词歌曲套曲㊂‘枫桥夜泊“原诗中有许多深具意象的情景,如落月㊁渔火㊁江水㊁钟声㊁乌啼㊁霜满天等㊂为形象地将这些意象置换成音乐语言,深谙中国古诗词歌曲艺术要旨的黎英海先生巧妙地运用不同的伴奏音程加以描绘,成功地将诗中的意境渲染为音乐语境,舒缓适宜㊁匀称协调,充满了情景交融的艺术感染力㊂在整支曲子中,作为主音的五度音程贯穿全曲,虽然根据诗的内容,音色会有相应的变化,如以密集快速的上行音阶表现潺潺的江水㊁以十六分音符装饰音强化钟声的回响㊁以三个下行装饰音模仿乌啼等,但五度音程始终沉稳地铺垫于音响底层,牢牢把控着全曲 对愁眠”这一主题调性㊂这种看似单纯㊁简洁的旋律延伸,实际上是黎英海先生对古琴往往以同一韵律为基调的支声复调,遵循以线条性音乐构化成立体化组合音乐思维,从而成功地构划出了一幅中国古典诗词的音乐化写意㊂此外,以拖腔的颤音伴奏来彰显诗词的吟诵感㊁以对节奏的控制以与原诗节奏保持一致㊁以每一句末尾处巧妙地点缀一个迅速下行旋律来模仿吴语以符合古诗词吟诵字与音相协调的要求等等,莫不是黎英海遵循古法却不拘泥于古法,而是通过西方器乐技法与我国传统文化的有机结合,实现着向当代大众审美向度的转换和提升,在充分体现专业创作者广博的传统音乐修养的同时,又未淡化与观众美学价值取向靠拢的匠心独运㊂综上所述,古琴音乐以其清雅深邃㊁含蓄隽永的特点,给人以美的享受和启迪㊂它不仅有丰富多彩的旋律和节奏,还有独特的拨弦技法和指法,形成了独具特色的音响效果和表现力㊂古诗词艺术歌曲追求文人雅士的情感境界和人格修养,以其优美的旋律㊁动人的歌词和出色的演唱,能够通过音乐的力量感染人心,进而陶冶和提升广大听众的情操和修养㊂在弘扬优秀传统文化的当今时代,传统文化艺术需要新的传播思维与体系,但只有基于对中国传统音乐文化精神界面的深入研究,才有可能在丰富和拓展中国传统特色音乐文化道路上行稳致远,守正创新㊂在传统与现代相融合的张力场上,在传统音乐多元化元素的动态格局中,以传统诗词为素材,以和谐渐进式的深邃或流畅保证乐曲主旋律的起承转合㊁韵律抑扬,这是我们应该恪守的现代作曲法赋予古诗词歌曲鲜明主题的核心所在㊂ 参考文献:[1]曾运乾.尚书正读[M ].北京:中华书局,1964:45.[2](汉)司马迁.史记[M ].北京:中华书局,1959:1936.[3](唐)房玄龄等.晋书[M ].北京:中华书局,1974:716.[4]黄旭东等编.查阜西琴学文萃 查阜西琴歌辨[M ].杭州:中国美术学院,1995:162.[5]刘兰英等编.中国古代文学词典(第四卷)[M ].南宁:广西教育出版社,1989:06.[6]科学大众编辑部. 四艺之首” 古琴艺术的魅力[J ].科学大众(小学版),2022(12):10.[7]杨天君.从‘枫桥夜泊“演唱谈艺术歌曲的表现[J ].艺术教育,2006(07):54-55.(责任编辑 董翔薇)941 第10期琴乐合鸣:论中国古诗词艺术歌曲与古琴音乐的融合。
关于陶瓷的英语作文Title: The Timeless Art of Ceramics。
Ceramics, with its rich history and timeless beauty, has been an integral part of human culture for millennia. From ancient pottery to modern porcelain, ceramics have served both utilitarian and artistic purposes, embodying the creativity and craftsmanship of civilizations throughout history.One of the most fascinating aspects of ceramics is its durability. Unlike many other materials, ceramics have the ability to withstand the test of time, preserving the stories and traditions of past generations. Archaeological discoveries of ancient ceramic artifacts provide valuable insights into the daily lives, beliefs, and technologies of ancient societies.Furthermore, ceramics offer a unique canvas forartistic expression. The process of creating ceramicsinvolves a delicate balance of science and artistry. From shaping the clay to applying glazes, each step requires skill, precision, and creativity. Artists use ceramics to explore a wide range of themes, from the natural world to abstract concepts, infusing their creations with personal meaning and cultural significance.In addition to its artistic value, ceramics also play a practical role in our everyday lives. From tableware to bathroom fixtures, ceramics are ubiquitous in modern society. Their versatility, durability, and heat-resistant properties make them ideal for a wide range of applications. Moreover, advancements in ceramic technology have led to innovations in fields such as aerospace, electronics, and medicine, further highlighting the importance of ceramicsin contemporary society.Despite its ancient origins, ceramics continue toevolve and adapt to the changing needs and preferences of society. Contemporary ceramic artists push the boundariesof tradition, experimenting with new techniques, materials, and forms. From experimental sculptures to functionalceramics with sleek, minimalist designs, the world of ceramics is constantly evolving, reflecting the dynamic nature of human creativity.Moreover, ceramics have become increasingly sustainable in recent years. With growing concerns about environmental degradation and resource depletion, there has been a renewed interest in traditional crafts and sustainable practices. Many ceramic artists are incorporating eco-friendly materials and techniques into their work, minimizing waste and environmental impact.In conclusion, ceramics occupy a unique place in human history and culture. From ancient artifacts to modern masterpieces, ceramics continue to captivate and inspire us with their beauty, durability, and versatility. Whether as a medium for artistic expression or a practical solution to everyday needs, ceramics remind us of the enduring power of human creativity and ingenuity. As we navigate the complexities of the modern world, let us not forget the timeless art of ceramics and the profound impact it has had on our lives and societies throughout history.。
doi: 10.3969/j.issn.1673-6478.2024.01.027基于道路碎石底基层赤泥基胶凝材料应用研究刘 锋(山东高速基础设施建设有限公司,山东 济南 250000)摘要:将赤泥基胶凝材料应用于道路碎石底基层是一项新兴的研究领域,旨在改善道路基础层的稳定性和耐久性。
本文通过赤泥基胶凝材料在公路工程中应用,对其进行了研究和分析,通过改善赤泥在碎石底基层中的抗剪强度和抗水稳定性,添加适量的胶凝材料,提高了路基强度和稳定性,结果显示,该材料的使用提高了碎石底基层的抗冻融性能和耐久性,在路基工程中具有良好的应用前景。
关键词:道路工程;底基层;赤泥基胶凝材料;抗剪强度 中图分类号:U416.1文献标识码:A文章编号:1673-6478(2024)01-0133-04Study on the Application of Red Mud Base Cementitious Material Based on RoadGravel BaseLIU Feng(Shandong High-speed Infrastructure Construction Co., Ltd., Jinan Shandong 250000, China)Abstract: The application of red mud base cementing material to road gravel base is a new research field, aiming at improving the stability and durability of road base layer. This paper studies and analyzes the application of red mud base cement material in highway engineering. By improving the shear strength and water resistance stability of red mud in gravel base and adding appropriate amount of cement material, the strength and stability of roadbed are improved. The results show that the use of this material improves the freeze-thaw resistance and durability of gravel base. It has a good application prospect in roadbed engineering. Key words: road engineering; base layer; red mud based cementitious material; shear strength 0 引言碎石底基层是道路工程中至关重要的组成部分,对于道路的稳定性和耐久性起着重要的作用。
The Durability of Culture and the Stories We TellNarrative in Long-term Knowledge ManagementWilliam A. StubblefieldCollaborative Systems DepartmentSandia National LaboratoriesAlbuquerque, New Mexico, USAwastubb@AbstractCulture, considered both cognitively and socially, is among the most durable of human creations. This applies to individual communities of practice, as much as to larger ethnic or national groups. Consequently, designers of long-term knowledge management [KM] systems should pay close attention to the role of culture in creating, sustaining, and interpreting knowledge. This position paper looks at the interplay of two activities that are essential to understanding culture for purposes of design: ethnographic field work and the interpretation of stories people tell us about their work, goals, and community. It argues that, when interpreted in the context of a broader field effort, the stories people tell us are valuable clues to the community’s cultural invariants.Introduction: Culture and knowledge managementKnowledge is irreducibly a quality of human beings, implicit in their actions, utterances, and relationships. In practice, and possibly in principle, it cannot be formalized in any operational sense: the syntactic structures stored in a knowledge management system must be interpreted and acted upon by people. Indeed, we could express the frequently mentioned distinction between knowledge and information in exactly these terms. If a symbolic structure can support meaningful algorithmic manipulation, then it is information. If it must be interpreted by a human being before being meaningfully applied, than its role is in supporting knowledge.The roots of this view lie in embodied and situated models of cognition. Embodied theories (Damasio 1994; Deacon 1997; Lakoff 1987; Lakoff and Johnson 1999;LeDoux 1996; Varela and others 1993) hold that intelligence is not a product of formal symbol manipulation, but depends fundamentally upon such features of our biological embodiment as perception, emotion, developmental learning, innate cognitive and learning biases, and states of consciousness. Situated theories (Brown and Duguid 2000; Lave and Wenger 1991; Stubblefield 2000; Suchman 1987; Wenger 1999) extend this to the social context, arguing that much of what we would call knowledge exists in our interaction with the physical and social worlds. Such extensions as tools or the representation of information are an inherent part of cognition (Hutchins 1995b; Nardi 1996).These ideas influence the design of KM systems in two ways:1. They clearly define the abilities and limitations of KM systems. Rather than“capturing” or “preserving” an organization’s knowledge, they are a source ofinformation and tools to assist the people who must accomplish these goals.2. Insuring that the information stored in a KM system will continue to be useful overthe long-term requires understanding these invariants underlying the social context of system use, and designing the system to support and draw support from these social structures.Field work for KM System DesignThis analysis underscores the importance of ethnographic fieldwork to knowledge management system design (Coyne 1995; Hutchins 1995a; Kuniavsky 2003; Laurel 2003; Preece and others 2002; Winograd 1996). Ethnographic fieldwork contrasts with many common approaches to user-oriented design, such as focus groups, interviews, and participatory design (Schuler and Namioka 1993). The main distinction between ethnographic methods and traditional ways of gathering information about user needs is that, whereas the latter relies upon people’s accounts of their work, community, and information needs, ethnography favors observations of people at work, of the artifacts they employ, and the structure of their community. The goal of an ethnographic effort is, through the interpretation of empirical observations, to construct a model of people’s work and community that will support design. A desirable feature of these models istheir articulation of abstract, invariant structures in the user community. By this, I mean models of relationships, activities, technology use, incentives, values and other social structures that describe many instances of behavior, and change only slowly.For example, I have built a number of knowledge and information management systems for my employer, Sandia National Laboratories, that exploit such invariants. For example:1. Because of the critical nature of our work in the national security sector, Sandia has evolved a strong culture of personal responsibility. Engineers do not easily delegate responsibility for system design, engineering, validation, or other activities essential to the success of a project. This affects our designs in several ways. We must be careful not to try and reduce the control engineers have over their work activities through excessive process formalization. We must make the sources and validation criteria for all knowledge explicit. In our design processes, we emphasize participatory methods, and often give more control over the design to users than we otherwise might.2. As an advanced engineering laboratory, Sandia has a unique, often paradoxical approach to the common distinction between experts and novices. Because of the difficulty and criticality of our work, the insights of experts are highly valued. However, the value placed on innovation and developing human abilities lead us to give significant responsibility to young engineers, although under supervision of senior people. This means that, although we must honor the needs of both these groups, we must do so in ways that avoid obvious expert/novice distinctions.3. Although privately managed, Sandia is a government laboratory. This means we are subject to the political constraints inherent in any government activity. The organization of our projects, and their schedules, budget and strategies must address these political factors.In constructing this abstract, structural understanding of the user community, we draw on both ethnographic methods and more traditional design approaches. One source of knowledge that has been very important to us, and that seems to touch on both approaches has been in the stories users tell us about their work and community.Although ethnographic methods favor observation over user accounts as a source of data, they do not ignore the things people tell us. Rather, they treat these accounts as data to be interpreted in the context of a broader ethnographic effort, rather than direct system requirements. This is the basis of our own approach to understanding user stories.The Deeper Structure of User StoriesAs designers, we typically encounter two types of stories from users of a proposed system: narrative accounts of how the user hopes the system will function; and more general stories about important situations events in their community. Both types of stories present significant information in a narrative form, and both are told from a particular individual’s point of view. Also, both are suggestive of these deeper structures in the user community.Narrative serves a number of roles in any community, defining ethical values, social norms, ways of working, and essential knowledge (Bruner 1990; Bruner 1991). The stories shared in a community are constantly interpreted and re-interpreted in the telling. In a sense, stories are less important for their immediate content, than for the more durable ways of thinking, communicating, and collaborating implicit in their structure. Two features of socially shared narratives that are particularly useful are their open endedness, and the tendency of particular stories to be instances of more general narrative forms.The open ended nature of narrative underscores its importance for design. For example, Scenarios (Carroll 2000) are a narrative-based approach to software interaction design. In contrast to use-cases and other highly formal ways of characterizing the narrative structure of interactions, Scenarios are informal accounts of a person’s use of a proposed system. It is this informality that makes them so flexible and powerful for exploratory design. They are open-ended in their presentation of use scenarios, and consequently, encourage the elaboration and re-interpretation central to design.We may think of a particular story as an instance of a more abstract narrative form. For instance, countless stories, from the ancient Greeks to The Matrix, are instances of a general hero story form. Everything from the broader structure of the stories to particularscenes are drawn from this general form. In her study of the scientific debates that went on in the early development of evolutionary theory, Landau (Landau 1991) argues that all the various models of evolution adhered broadly to a hero story form with our ancestors as heroes of the story, but differed in such particulars as the evolutionary “gift” that started them on their “journey.” This narrative organization of evolutionary theories persists in modern discussions.Examples of the role of stories in design can be found in an information management system my colleagues and I designed for a technology development group at Sandia Labs (Stubblefield and others 2003). Our customers were a research and development group that had brought a wide variety of scientific disciplines together to develop a micro-mechanical fabrication technology known as LIGA. Our system, called the LIGA Traveler, was an information management tool to support work in their laboratory.A common story our users told us during our field work emphasized their own difficulties in perfecting the technology. Although the particulars of these stories differed greatly, the form was always the same: the teller had to struggle both to obtain needed information from other researchers in the lab, and to effectively communicate their own results. In a sense, each person was the hero in their own scientific journey.This general structure led to three essential features of our design:1) Since each person approached work from the point of view of their own technical specialty, we had to accommodate the different technical languages of the laboratory’s various specialties (manufacturing, materials science, physics, electroplating, etc.);2) We had to modularize information so each specialty had clear ownership of its data; and3) In order to support sharing and communication, we had to allow access to all data in the lab through a common interface.Although not an example of long-term KM, the resulting system has endured through significant changes in the user community. In particular, it has remained useful andusable and the user community has progressed from more classic R&D into more focused prototype development. It has also remained useful as the lab emerged from its early “growing pains” and coalesced into a unified, focused community of practice.ConclusionThe story of the LIGA Traveler underscores the two themes that constitute my position: 1) Long-term knowledge management systems must build on social invariants in the user community; and 2) the general form of stories people tell about their work are a valuable clue to these invariants.Finding these abstract structures is a matter of interpreting user stories in light of both broader ethnographic data, and the theoretical ideas we bring to that interpretation. Consequently, much of my current work focuses on developing an understanding of socially shared narratives that can help me to find those underlying invariants.ReferencesBrown, J. S. and P. Duguid. The Social Life of Information. Boston: Harvard Business School Press, 2000.Bruner, Jerome. Acts of Meaning. 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