This paper examines how private artistic language intervenes in public narrative space,focusing on the problem of communicability faced by private artistic experience in processes of public expression and understandin...This paper examines how private artistic language intervenes in public narrative space,focusing on the problem of communicability faced by private artistic experience in processes of public expression and understanding.By introducing the philosophical problem of private language,it argues that private experience inevitably undergoes loss,distortion,and interpretive uncertainty when translated into public forms.Drawing on Wittgenstein's rejection of private language and Kant's theories of aesthetic ideas,genius,and taste,the paper reveals a structural tension between private experience and public comprehension.It further engages with John Dewey's notion of art as evocative communication,addressing both its potential for facilitating communication and its limitations in relation to abstract ideas.Through experimental studies on textual annotation,the paper demonstrates that text is not a neutral medium but can shape and constrain interpretation.Finally,it argues that public narrative space,while enabling artistic exchange,may also intensify the challenges posed by private language,leaving private artistic language in a persistently unresolved and tension-filled condition within public narrative space.展开更多
The theory of spatial narrative enhances the connotation of architectural design and broadens the interaction between architecture and its users.Drawing upon a literature review of relevant keywords related to“archit...The theory of spatial narrative enhances the connotation of architectural design and broadens the interaction between architecture and its users.Drawing upon a literature review of relevant keywords related to“architectural space narrative”from the China National Knowledge Infrastructure(CNKI)over the past two decades,alongside an analysis and content identification of high-frequency keywords,clustering,timelines,and other knowledge graphs generated by CiteSpace,this study summarizes the evolution path of spatial narrative theory.This approach offers diverse perspectives for examining emerging trends and key issues within spatial narrative research.展开更多
The film My People,My Country tells seven stories of great historical significance that have occurred since New China’s founding 70 years ago.The film takes time as a clue and narrates the transformation of space.Bas...The film My People,My Country tells seven stories of great historical significance that have occurred since New China’s founding 70 years ago.The film takes time as a clue and narrates the transformation of space.Based on the understanding of spatial narrative,this paper explores the spatial narration in the film from the perspectives of narrative space formation,narrative means,and spatial expression of emotion.展开更多
On the basis of Gabriel Zoran＇s theory of spatial pattern, particularly the 3 levels of world reconstruction, the pattern of narrative space in Ursula Le Guin＇s The Left Hand of Darkness is figured out. A spatial pa...On the basis of Gabriel Zoran＇s theory of spatial pattern, particularly the 3 levels of world reconstruction, the pattern of narrative space in Ursula Le Guin＇s The Left Hand of Darkness is figured out. A spatial pattern of Tai Chi diagram is established on the textual level, the chronotopic level and the topographical level simultaneously. To demonstrate the validity of this Tai Chi spatial pattern, the stylistic feature of ＂shfgrethor＂ is analyzed in accordance with the Tai Chi spatial pattern, thereby proves the pattern＇s reliability. As an effect, this Tai Chi spatial pattern functions as Le Guin＇s fitting shape of carrier bag in science fiction containing both mythology and realist elements into a cyclic narrative.展开更多
Within the patriarchal hegemony of media ecosystems,female representations have historically manifested as passive objectifications and monodimensional semiotic constructs under the oppressive regime of the male gaze....Within the patriarchal hegemony of media ecosystems,female representations have historically manifested as passive objectifications and monodimensional semiotic constructs under the oppressive regime of the male gaze.While emerging digital platforms ostensibly expand discursive spaces for feminine expression,they paradoxically perpetuate gender stereotypes throu gh algorithmic reinforcement.This phenomenon exemplifies a reversed spiral of silence:algorithmically curated opinion climates engender expressive dominance by privileged demographic cohorts.Director Shao Yihui's Herstory constitutes a paradigm-shifting intervention through its deployment of paradoxical discursive strategies,transfiguring women from spectatorial objects to enunciative subjects.By embedding taboo subjects-menstrual stigma and single motherhood-within quotidian narratives through comedic dispositifs,the film achieves critical balance between commercial viability and feminist praxis.This cinematic text facilitates a transformative shift from reactive resistance to proactive construction in media representations of femininity,simultaneously destabilizing traditional gender hierarchies and catalyzing public deliberation on cognitive disso nance in gender perceptions-thereby advancing contemporary feminist media scholarship.Through deconstructing Herstory's narrative architecture,this study proposes“paradoxical representation”as an innovative feminist film theory that transcends the binary limitations of oppositional critique prevalent in conventional feminist cinema.The film's narrative dispositifs-including its deliberate effacement of male protagonists,nuanced portrayal of patriarchal complicity through the unemployed ex-husband archetype,and reconfiguration of gender relational networks-collectively illuminate the mutual emancipatory potential inherent in gender equality.Particular analytical emphasis is placed on the catalytic role of female child characters in redefining m aturation narratives.These narrative strategies demonstrate practical significance in counteracting monodimensional feminine semiotics and mitigating the“broken windows effect”of systemic gender discrimination.Employing spatial narratological analysis,critical discourse deconstruction,and relational network theory,this investigation elucidates Herstory's tripartite innovation mechanism:Spatial narratology transitions from dialectical confrontation to dynamic paradoxical articulation,capturing gender experience complexity;Discursive reconstruction visualizes power dynamics through agent-patient reversibility,with juvenile feminine narration establishing novel paradigms for gender pedagogy;Relational reconfiguration through“weakened masculinity-empowered femininity”interactions demonstrates bilateral liberation values.Crucially,the strategic attenuation of male characters functions not as antagonistic caricature but as structural oppression critique through empathetic narration,advancing societal aspirations for gender equity.This research not only amplifies Herstory's case significance but also prov ides groundbreaking exemplars of“deconstructive-reconstructive praxis”and paradoxical representation for feminist media studies.展开更多
文摘This paper examines how private artistic language intervenes in public narrative space,focusing on the problem of communicability faced by private artistic experience in processes of public expression and understanding.By introducing the philosophical problem of private language,it argues that private experience inevitably undergoes loss,distortion,and interpretive uncertainty when translated into public forms.Drawing on Wittgenstein's rejection of private language and Kant's theories of aesthetic ideas,genius,and taste,the paper reveals a structural tension between private experience and public comprehension.It further engages with John Dewey's notion of art as evocative communication,addressing both its potential for facilitating communication and its limitations in relation to abstract ideas.Through experimental studies on textual annotation,the paper demonstrates that text is not a neutral medium but can shape and constrain interpretation.Finally,it argues that public narrative space,while enabling artistic exchange,may also intensify the challenges posed by private language,leaving private artistic language in a persistently unresolved and tension-filled condition within public narrative space.
基金Sponsored by General Project of the Modern Design and Culture Research Center,Sichuan Provincial Key Research Base for Social Sciences(MD24E019)General Project of the Digital Culture and Media Research Base,Sichuan Provincial Key Research Base for Philosophy and Social Sciences(SC23DCMB006).
文摘The theory of spatial narrative enhances the connotation of architectural design and broadens the interaction between architecture and its users.Drawing upon a literature review of relevant keywords related to“architectural space narrative”from the China National Knowledge Infrastructure(CNKI)over the past two decades,alongside an analysis and content identification of high-frequency keywords,clustering,timelines,and other knowledge graphs generated by CiteSpace,this study summarizes the evolution path of spatial narrative theory.This approach offers diverse perspectives for examining emerging trends and key issues within spatial narrative research.
文摘The film My People,My Country tells seven stories of great historical significance that have occurred since New China’s founding 70 years ago.The film takes time as a clue and narrates the transformation of space.Based on the understanding of spatial narrative,this paper explores the spatial narration in the film from the perspectives of narrative space formation,narrative means,and spatial expression of emotion.
文摘On the basis of Gabriel Zoran＇s theory of spatial pattern, particularly the 3 levels of world reconstruction, the pattern of narrative space in Ursula Le Guin＇s The Left Hand of Darkness is figured out. A spatial pattern of Tai Chi diagram is established on the textual level, the chronotopic level and the topographical level simultaneously. To demonstrate the validity of this Tai Chi spatial pattern, the stylistic feature of ＂shfgrethor＂ is analyzed in accordance with the Tai Chi spatial pattern, thereby proves the pattern＇s reliability. As an effect, this Tai Chi spatial pattern functions as Le Guin＇s fitting shape of carrier bag in science fiction containing both mythology and realist elements into a cyclic narrative.
文摘Within the patriarchal hegemony of media ecosystems,female representations have historically manifested as passive objectifications and monodimensional semiotic constructs under the oppressive regime of the male gaze.While emerging digital platforms ostensibly expand discursive spaces for feminine expression,they paradoxically perpetuate gender stereotypes throu gh algorithmic reinforcement.This phenomenon exemplifies a reversed spiral of silence:algorithmically curated opinion climates engender expressive dominance by privileged demographic cohorts.Director Shao Yihui's Herstory constitutes a paradigm-shifting intervention through its deployment of paradoxical discursive strategies,transfiguring women from spectatorial objects to enunciative subjects.By embedding taboo subjects-menstrual stigma and single motherhood-within quotidian narratives through comedic dispositifs,the film achieves critical balance between commercial viability and feminist praxis.This cinematic text facilitates a transformative shift from reactive resistance to proactive construction in media representations of femininity,simultaneously destabilizing traditional gender hierarchies and catalyzing public deliberation on cognitive disso nance in gender perceptions-thereby advancing contemporary feminist media scholarship.Through deconstructing Herstory's narrative architecture,this study proposes“paradoxical representation”as an innovative feminist film theory that transcends the binary limitations of oppositional critique prevalent in conventional feminist cinema.The film's narrative dispositifs-including its deliberate effacement of male protagonists,nuanced portrayal of patriarchal complicity through the unemployed ex-husband archetype,and reconfiguration of gender relational networks-collectively illuminate the mutual emancipatory potential inherent in gender equality.Particular analytical emphasis is placed on the catalytic role of female child characters in redefining m aturation narratives.These narrative strategies demonstrate practical significance in counteracting monodimensional feminine semiotics and mitigating the“broken windows effect”of systemic gender discrimination.Employing spatial narratological analysis,critical discourse deconstruction,and relational network theory,this investigation elucidates Herstory's tripartite innovation mechanism:Spatial narratology transitions from dialectical confrontation to dynamic paradoxical articulation,capturing gender experience complexity;Discursive reconstruction visualizes power dynamics through agent-patient reversibility,with juvenile feminine narration establishing novel paradigms for gender pedagogy;Relational reconfiguration through“weakened masculinity-empowered femininity”interactions demonstrates bilateral liberation values.Crucially,the strategic attenuation of male characters functions not as antagonistic caricature but as structural oppression critique through empathetic narration,advancing societal aspirations for gender equity.This research not only amplifies Herstory's case significance but also prov ides groundbreaking exemplars of“deconstructive-reconstructive praxis”and paradoxical representation for feminist media studies.
