Status Report from AAT-Taiwan Sophy S.J

Total Page:16

File Type:pdf, Size:1020Kb

Status Report from AAT-Taiwan Sophy S.J Status Report from AAT-Taiwan Sophy S.J. Chen, Hsiang-An Wang, Hai-Ching Chang International Terminology Working Group (ITWG) meeting Dresden, Germany 2014/09/05-10 Summary of AAT-Taiwan @ 2014 ITWG From English to Chinese • Update on Translation Status • AAT-Taiwan Loanword Principle From Chinese to English/ Localization • Update on New Added Terms: Chinese Bronzes • New Terms Suggestion: Chinese Mythological Animals Applications & Future Plans • Chen Cheng-Po Website • ULAN Contribution Progress of AAT-Taiwan 1 2 3 4 Scope Note Term Terms in Translation Disambigua Contribution AAT Proofread. Verification ‐tion (1st ‐5th) 100 100 100 100 100 100 99 81 2015 79 -2019 54 30 0 0 0 0 0 0 35,485 1 35,230 2 28,759 2 19,293 2 27,931 2 10,584 2 1AAT Data Version: Getty 35485 records in May 2012 2AAT-Taiwan Database (updated: 2014/08/04) Why Does it Takes So Long? • Because Quality Matter! We’ve made great efforts to ensure translation of every record is as accurate as possible. 1 2 3 Scope Note Term Terms in Translation AAT Proofread. Verification ID: 300375721 ID: 300375721 ID: 300375721 ID: 300375721 Term: recuperation Term 詞彙: 復原 Term 詞彙: 復原 Term 詞彙: 主流收編 Note: Process identified by Note 範圍註: Note 範圍註: Note 範圍註: 情境理論(Situationist theory)將此 情境理論(Situationist theory)指出, 由情境主義理論(Situationist theory) Situationist theory in which a 定義為一個極端的或革命性的概念 「復原」為一種過程,過程中極端 所指出當激進或革命性概念遭受其 radical or revolutionary 為反對它的文化所吸收和商品化的 或革命性的概念遭到反對文化吸收 對立文化吸收和商品化的過程。這 concept is absorbed and 過程。這個理論假定藉由此一過程, 和商品化。這個理論假定,藉由此 個理論假定,經由此一過程,將會 commodified by the culture 將使得極度批評的原始意圖成為無 一過程,可將極端批評的原意化為 使原本激進論述的意涵消彌成無效。 that opposes it. The theory 效。 無效。 posits that through this Sources and Contributors process the original intent of 來源與貢獻者: 主流收編 radical critique is rendered ..............[AS‐Academia Sinica] ineffective. .............國家教育研究院-雙語詞彙、 學術名詞暨辭書資訊網 April 18, 2014 Accuracy Rate: Accuracy Rate: Accuracy Rate: 50~60%1 70%~85%1 90%~100%1 1Calculated by the AAT-Taiwan Team on 2014/07/16 Difficulties Slower Term Less Funding Longer Verification & Fewer Staff Editorial Time Process 1. Organization 2. Update 3. Translation End of TELDAP, a large Re-translating & re- Unable to translate scale national proofreading 5,746 concepts that were program in 2013: updated terms from non-existent in Chinese. 6 experienced staff → the 2010-2012 AAT 4 new staff (ASDC) updates. Solutions 1. Organization 2. Update 3. Translation We’ve developed We decided to finish We are writing the detailed SOPs to translating and AAT-Taiwan Loanword provide guidelines for proofreading the Principle to solve the new employees to remaining terms before issue of translating follow. conducting any further very western-oriented update. concepts. AAT-Taiwan Loanword Principle • AAT-Taiwan Loanword Principle contains 6 loanword types. • For the “Loan Translation” type, we need to find further authoritative sources to ensure correctness. AAT ID English Loanword Types Chinese 300265816 MP3 players 1. Borrowed Word MP3播放器 轉借詞 300263902 Kukuya 2. Transliteration 庫庫雅 譯音詞 300025542 church historians 3. Loan Translation- 教會歷史學者 Literal Translation 譯義詞-直譯 300262837 retablo (panel paintings) 4. Loan Translation- 祭壇裝飾畫 (板面繪 Paraphrase 畫) 譯義詞-意譯 300266008 whiskey glasses 5. Hybrid Loanword 威士忌酒杯 音義兼用詞 300015244 benzene 6. Phonetic Compound 苯 形聲詞 Initial Result Before Applying After Applying Loanword Principle Loanword Principle Able to Translate Unable to Translate Able to Translate Expert Review 10% 50% 50% 90% (Calculated by the AAT-Taiwan Team on 2014/07/16) • The contribution rate of this document increased from about 50% → 90%! AAT-Taiwan Website on Google Analytics (2013/8-2014/8) From Chinese to English/ Localization Chinese Mythological Animals (22 Records) 2015-16 Chinese Bronzes (19 Records) 2014 Chinese Festivals (8 Records) 2012-14 AAT has these 19 Ritual Vessels… 爵 角 斝 jue (goblet) jiao jia <Wine Vessels> 盉 尊 觚 he zun gu 卣 罍 瓿 you lei pou <Food Vessels> 鼎 甗 簋 ding (cauldron) yan gui 方 <Water 盨 豆 鼎 Vessels> Guide Term Suggestion: xu dou fang ding We could classify them into 3 groups based on their usages. 盤 匜 鑑 盂 pan (basin) yi jian yu We want to add 19 NEW Chinese Bronze Vessels! <Wine Vessels> <Musical Instruments> 勺 觥 壺 鐘 鈴 鐸 shao (ladle)gonghu zhong (bell) ling duo 缶 (金和) 觶 鐃 鉦 鎛 fou he zhi nao zheng bo 方彝 盉 錞于 fang yi ho chun yu <Food Vessels> v 匕 簠 敦 鬲 bi (spoon)fu dun li After Completion… AAT will have 38 terms with classification Possible Hierarchical Position for ------<Wine Vessels> -----<Food Vessels> Chinese Bronze Vessels- Musical ---------gu (ritual vessels) ---------ding (ritual vessels) Instruments ---------he (vessel) ------------fang ding ---------jia ---------dou ---------jiao ---------gui ---------jue ---------xu ---------lei ---------yan (ritual vessels) ---------pou ---------bi ---------you (lidded vessel) ---------dun ---------zun ---------fu ---------fang yi ---------li ------<Musical Instruments> ---------fou ---------bo ---------gong ------<Water Vessels> ---------chun yu ---------he ---------jian ---------duo ---------ho ---------pan (ritual vessels) ---------ling ---------hu ---------yi (ritual vessels) ---------nao ---------shao ---------yu (basin-shaped vessels) ---------zheng ---------zhi ---------zhong One Sample Record: “gong(觥)” New Terms Suggestion: Chinese Mythological Animals (2015-16) • Many bronze artifacts were decorated by animal motifs. • We wish to include mythical or legendary animals that often appear on the Chinese artifacts. • Our initial candidate terms of Chinese Mythological Animals are 22 records. Four Mythological Azure Dragon Creatures Chi Hu Nine Sons of the Dragon 青龍 四神 螭虎 龍生九子 “Small Azure Dragon “Hand Mirror with Four “Double Chi-tiger-handled Copper “Small Squarish Nine-dragon Porcelain Vat” Mythological Creatures Decoration” Enamel Plate with Three Foot” Jade Censer” National Palace Museum National Museum of History National Palace Museum National Palace Museum 青龍小缸(清) 有柄四神紋鏡(明) 雙螭虎耳銅琺瑯三足盤(明) 九螭玉小方爐(明末清初) 國立故宮博物院 國立歷史博物館 國立故宮博物院 國立故宮博物院 AAT-Taiwan Application: Starting Out from 23.5°N: Chen Cheng-Po http://chenchengpo.asdc.sinica.edu.tw/ Starting Out from 23.5°N: Chen Cheng-Po Time Place Chen Cheng-Po Event Object Art Work Description with Subject Terms Artworks Link to Cloud of Subject Terms Cloud of Subject Terms Link to AAT-Taiwan Possible ULAN Contribution Possible ULAN Contribution (15 artists) • We have Chen Cheng-Po and 14 other Taiwanese and Japanese artists that can contribute to ULAN. Names of Artists Li Shih‐chiao 1. Chen Jin 8. Okada Saburosuke 李石樵 陳進 岡田三郎助 Yan Shuilong 2. Chen Zhiqi 9. Pan Yuliang 顏水龍 陳植棋 潘玉良 3. Ishikawa Kinichiro 10. Pu Tiansheng Tanabe Itaru 石川欽一郎 蒲添生 田邊至 4. Li Meishu 11. Tanabe Itaru 李梅樹 田邊至 Li Meishu 李梅樹 5. Li Shih‐chiao 12. Wang Jiyuan 李石樵 王濟遠 Ishikawa Kinichiro 6. Liao Chi‐chun 13. Yan Shuilong 石川欽一郎 廖繼春 顏水龍 Liao Chi‐chun 7. Lin Yushan 14. Yang Sanlang 廖繼春 林玉山 楊三郎 Sample Record of ULAN: Chen Cheng-Po Some Interesting Research What do you see? What do you feel? What do you associate it with? house, quiet, from users’ tagging street of Taiwan in early age, modernization, Blue sky, calm, tree, countryside, Warm, fence, eating a popsicle on the way home, Hometown, Gauguin’s simple, Tahitian style, Post‐Impressionism The 12 types of mental association made by the participants Category Subcategory Category Subcategory Concepts in the arts N/B 1. Culture concepts 7. Abstract Concept Material Association Association Environmental concepts Philosophical concepts Scientific concepts Social science concepts Temperature Specific places 2. Color8. Landscapes Physical Attribute Spatial Association Association Shape Settlements Single built works Districts Open spaces N/B Visual works 3. 9. Components Style Association Object Association N/B N/B 4. 10. Temporal Association Artistic Influence Association People N/B 5. Animals 11. Living Organism Reactive Association Association Plants Functions N/B 6. Events 12. Activity Association Prototype Association Physical and mental activities Process and techniques 1.6 Social science concepts hometown (1a‐C2) Hometown Christmas 憶家鄉/ My Hometown A Street in Grasse Charles Nègre (French, 1820–1880) Memories From: Most striking in this photograph, made in By Thomas Kinkade gallery.taipei.gov.tw Nègre's hometown Grasse, is the geometry of his composition‐the road zigzagging up the From: page to a nearly Cubist rendering of the mills http://www.artofthesouth.co and houses. From: m/Thomas_Kinkade/hometow http://www.metmuseum.org/Collections/sea nchristmasmemoriesbythoma rch‐the‐collections/283736 29 skinkade.php 3. Style Association Impressionism (1a‐P4, 2a‐P2) Impression, Sunrise Pierre‐Auguste Renoir, Dance (Impression, soleil levant), at Le Moulin de la Galette (Bal 1872; the painting that gave du moulin de la Galette), Edgar Degas (1834‐1917) its name to the style. Musée Musée d'Orsay, 1876, From: The Ballet Class, Between Marmottan Monet, Paris. http://en.wikipedia.org/wiki/I 1871 and 1874, Paris, Musée From: mpressionism d'Orsay, From: http://en.wikipedia.org/wiki/C http://www.musee‐ 30 laude_Monet orsay.fr/en/collections/works‐ 3. Style Association Post‐Impressionism (2b‐D4,2b‐P1, 1b‐P4) Still Life with a Ginger Jar and Bathers at Asnières, 1884, Georges Eggplants, 1893–94 Seurat, National Gallery, London, Paul Cézanne (French, 1839– From: Self‐Portrait, Spring 1887, 1906). From: http://en.wikipedia.org/wiki/File:Baig Vincent van Gogh (Dutch, http://www.metmuseum.org/ neurs_a_Asnieres.jpg 1853–1890), Art Institute toah/works‐of‐art/61.101.4 of Chicago, From: http://en.wikipedia.org/w31 iki/Vincent van Gogh 3. Style Association Gauguin’s simple, Tahitian style (1a‐F1) Two Tahitian Women( 1899) Tahitian Women on the Beach, Tahitian woman and two Paul Gauguin (French, Paris Paul Gauguin, 1891, Musée children ‐ Paul Gauguin, 1848–1903 Atuona, Hiva Oa, d'Orsay, Paris. 1901, : Art Institute of Marquesas Islands ) From: Chicago, Chicago, IL, USA From: The Metropolitan http://en.wikipedia.org/wiki/ From: Museum of Art Mus%C3%A9e_d'Orsay http://www.artmajeur.com/en http://www.metmuseum.org/ /artist/goodaboom/collection/ 32 toah/works‐of‐art/49.58.1 polynesia‐and‐carribean‐ 11.
Recommended publications
  • 2016 Maketas.Indd
    CREATIVITY STUDIES ISSN 2345-0479 / eISSN 2345-0487 2016 Volume 9(1): 25–41 doi:10.3846/23450479.2015.1112854 II. THRee InvestiGatiOns OF CReativitY: ART, Science anD MeDia CREATIVE TRANSFORMATIONS IN VISUAL ARTS OF EARLY FRENCH MODERNISM: TREATMENT OF NUDE BODY Agnieška JUZEFOVIČ Vilnius Gediminas Technical University, Faculty of Creative Industries, Department of Philosophy and Communication Trakų g. 1, LT-01132, Vilnius, Lithuania E-mails: [email protected]; [email protected] Received 22 May 2015; accepted 22 October 2015 Resent paper is focused on the early modern culture, particularly on the topic of visual art and its confrontation with traditional, pre-modern culture and aes- thetic. The author unveils how and why painters of early French modernism had rejected traditional representation of eroticism, typical for pre-modern art, espe- cially for the art of academicism. Thus from their artworks disappeared sublim- ated, exalted nudity, withdrew nudes modestly hidden under mythological or reli- gious context. In the works of impressionists and postimpressionists naked body was depicted frankly, openly, without any excuse of what was supposed to be decent. Such were the nude women of paintings of Auguste Manet and Amedeo Modigliani who present merely their femininity and sexuality, while symbolizing the liberation from moral norms and heralding sexual revolution of the 20th cen- tury. Relaxed, healthy, pink-cheeked girls in Pierre-Auguste Renoir’s paintings spread subtle eroticism and the mood of joyful life. Life of Parisian cabarets and brothels come alive through naked or semi-naked female figures which on Henri de Toulouse-Lautrec and Edgar Degas canvases seem as if they are unaware of being watched.
    [Show full text]
  • Paul Gauguin
    Sarah Kapp Art History and Visual Studies Major (honours) Business Minor De-Mythicizing the Artist: Presented March 6, 2019 This research was supported by the Jamie Cassels Undergraduate Research Award University of Victoria Supervised by Dr. Catherine Harding How Gauguin Responded to the Art Market Assistance from Dr. Melissa Berry Political Conditions Introduction Imperialism and Primitivism in the Late-Nineteenth Century Like celebrities, famous artists face rumours and myths Gauguin’s stylistic innovations were just one component of his self-promotional endeavor that overwhelm their public reception. Vincent van Gogh that appeared in the Volpini Suite. It was his engagement with ‘primitive’ subject- has become inextricably linked to the tale of the tortured matter—which included depictions of local peasant and folk culture—that served as a soul who sliced off his ear; Pablo Picasso to the tale fashionable and marketable technique (Perry 6). In the 1889 suite, Gauguin depicted of the womanizing innovative artist; and Salvador Dalí people in their daily surroundings, including: Breton peasant women chatting, Martinican as the eccentric artist who did too many drugs. This women carrying baskets of fruit, and women from Arles out walking (Juszczak 119). research dismantles the myth of Paul Gauguin (1848- After his creation of the Volpini Suite, Gauguin’s use of ‘primitive’ subjects intensified, 1903), who, in the late-twentieth century, became ultimately becoming a defining feature of his artistic practice. Gauguin’s work in the the target of feminist and post-colonialist theorists, Volpini Show correlated to contemporary ideas about the ‘primitive’. The Exposition who criticized him for sexualized depictions of young Universelle juxtaposed the newly built Eiffel Tower and the Gallery of Machines with women, as well as ‘plagiarizing’ and ‘pillaging’ the art ethnographic exhibits from around the world (Chu 439).
    [Show full text]
  • Inscriptional Records of the Western Zhou
    INSCRIPTIONAL RECORDS OF THE WESTERN ZHOU Robert Eno Fall 2012 Note to Readers The translations in these pages cannot be considered scholarly. They were originally prepared in early 1988, under stringent time pressures, specifically for teaching use that term. Although I modified them sporadically between that time and 2012, my final year of teaching, their purpose as course materials, used in a week-long classroom exercise for undergraduate students in an early China history survey, did not warrant the type of robust academic apparatus that a scholarly edition would have required. Since no broad anthology of translations of bronze inscriptions was generally available, I have, since the late 1990s, made updated versions of this resource available online for use by teachers and students generally. As freely available materials, they may still be of use. However, as specialists have been aware all along, there are many imperfections in these translations, and I want to make sure that readers are aware that there is now a scholarly alternative, published last month: A Source Book of Ancient Chinese Bronze Inscriptions, edited by Constance Cook and Paul Goldin (Berkeley: Society for the Study of Early China, 2016). The “Source Book” includes translations of over one hundred inscriptions, prepared by ten contributors. I have chosen not to revise the materials here in light of this new resource, even in the case of a few items in the “Source Book” that were contributed by me, because a piecemeal revision seemed unhelpful, and I am now too distant from research on Western Zhou bronzes to undertake a more extensive one.
    [Show full text]
  • Maria Khayutina • [email protected] the Tombs
    Maria Khayutina [email protected] The Tombs of Peng State and Related Questions Paper for the Chicago Bronze Workshop, November 3-7, 2010 (, 1.1.) () The discovery of the Western Zhou period’s Peng State in Heng River Valley in the south of Shanxi Province represents one of the most fascinating archaeological events of the last decade. Ruled by a lineage of Kui (Gui ) surname, Peng, supposedly, was founded by descendants of a group that, to a certain degree, retained autonomy from the Huaxia cultural and political community, dominated by lineages of Zi , Ji and Jiang surnames. Considering Peng’s location right to the south of one of the major Ji states, Jin , and quite close to the eastern residence of Zhou kings, Chengzhou , its case can be very instructive with regard to the construction of the geo-political and cultural space in Early China during the Western Zhou period. Although the publication of the full excavations’ report may take years, some preliminary observations can be made already now based on simplified archaeological reports about the tombs of Peng ruler Cheng and his spouse née Ji of Bi . In the present paper, I briefly introduce the tombs inventory and the inscriptions on the bronzes, and then proceed to discuss the following questions: - How the tombs M1 and M2 at Hengbei can be dated? - What does the equipment of the Hengbei tombs suggest about the cultural roots of Peng? - What can be observed about Peng’s relations to the Gui people and to other Kui/Gui- surnamed lineages? 1. General Information The cemetery of Peng state has been discovered near Hengbei village (Hengshui town, Jiang County, Shanxi ).
    [Show full text]
  • Paul Gauguin L'aventurier Des Arts
    PAUL GAUGUIN L’Aventurier des arts Texte Géraldine PUIREUX lu par Julien ALLOUF translated by Marguerite STORM read by Stephanie MATARD © Éditions Thélème, Paris, 2020 CONTENTS SOMMAIRE 6 6 1848-1903 L’apostrophe du maître de la pose et de la prose 1848-1903 The master of pose and prose salute 1848-1864 Une mythologie familiale fondatrice d’un charisme personnel 1848-1864 Family mythology generating personal charisma 1865-1871 Un jeune marin du bout du monde 1865-1871 A far-flung young sailor 1872-1874 L’agent de change donnant le change en société devient très artiste 1872-1874 The stockbroker becomes a code-broker artist 8 8 1874-1886 Tirer son épingle du jeu avec les Impressionnistes 1874-1886 Playing ball with the Impressionists 1886-1887 Le chef de file de l’École de Pont-Aven 1886-1887 The leader of the Pont-Aven School 1887-1888 L’aventure au Panama et la révélation de la Martinique 1887-1888 Adventure in Panama and a revelation in Martinique 1888-1889 L’atelier du Midi à Arles chez van Gogh : un séjour à pinceaux tirés 1888-1889 Van Gogh’s atelier du Midi in Arles: a stay hammered with paintbrushes 1889-1890 Vivre et s’exposer, avec ou sans étiquette, avec ou sans les autres 1889-1890 Living and exhibiting, with or without label, with or without others 46 46 1891-1892 Un dandy tiré à quatre épingles, itinérant et sauvage 1891-1892 A wild, dressed-to-the-teeth travelling dandy 1893-1894 En peignant la Javanaise : Coup de Jarnac à Concarneau 1893-1894 Painting Javanaise Woman: Jarnac blow in Concarneau 1895 Le retour à Pont-Aven
    [Show full text]
  • Title <Translated Article> Western Zhou History in the Collective
    <Translated Article> Western Zhou History in the Collective Title Memory of the People of the Western Zhou: An Interpretation of the Inscription of the "Lai pan" Author(s) MATSUI, Yoshinori Citation 東洋史研究 (2008), 66(4): 712-664 Issue Date 2008-03 URL https://doi.org/10.14989/141873 Right Type Journal Article Textversion publisher Kyoto University 712 WESTERN ZHOU HISTORY IN THE COLLECTIVE MEMORY OF THE PEOPLE OF THE WESTERN ZHOU: AN INTERPRETATION OF THE INSCRIPTION OF THE "LAI PAN" MATSUI Y oshinori Introduction On January 19, 2003, twenty-seven bronze pieces were excavated from a hoard at Yangjiacun (Meixian county, Baoji city, Shaanxi province).l All the bronzes, which include twelve ding ~, nine Ii rn, two fanghu 11 if., one pan ~, one he :ii\'t, one yi [ffi, and one yu k, have inscriptions. Among them, the bronzes labeled "Forty-second-year Lai ding" ~ ~ (of which there are two pieces), "Forty-third-year Lai ding" (ten pieces), and "Lai pan" ~~ (one piece) have in­ scriptions that are particularly long for inscriptions from the Western Zhou period and run respectively to 281, 316 and 372 characters in length. The inscription of the "Lai pan," containing 372 characters, is divided into two parts, the first part is narrated from Lai's point of view but employs the third-person voice, opening with the phrase, "Lai said." The second part records an appointment (ceming :IlJt frJ) ceremony that opens, "The King said." The very exceptional first part records the service of generations of Lai's ancestors to successive Zhou Kings. The inscription mentions eleven former kings, King Wen X3:., King Wu TIk3:., King Cheng JIlG3:., King Kang *3:., King Zhao BR3:., King Mu ~~3:., King Gong *3:., King Yi i~3:., King Xiao ~(~)3:., King Yi 1J$(~)3:., King Li Jj1U (J~)3:.
    [Show full text]
  • Piece Mold, Lost Wax & Composite Casting Techniques of The
    Piece Mold, Lost Wax & Composite Casting Techniques of the Chinese Bronze Age Behzad Bavarian and Lisa Reiner Dept. of MSEM College of Engineering and Computer Science September 2006 Table of Contents Abstract Approximate timeline 1 Introduction 2 Bronze Transition from Clay 4 Elemental Analysis of Bronze Alloys 4 Melting Temperature 7 Casting Methods 8 Casting Molds 14 Casting Flaws 21 Lost Wax Method 25 Sanxingdui 28 Environmental Effects on Surface Appearance 32 Conclusion 35 References 36 China can claim a history rich in over 5,000 years of artistic, philosophical and political advancement. As well, it is birthplace to one of the world's oldest and most complex civilizations. By 1100 BC, a high level of artistic and technical skill in bronze casting had been achieved by the Chinese. Bronze artifacts initially were copies of clay objects, but soon evolved into shapes invoking bronze material characteristics. Essentially, the bronze alloys represented in the copper-tin-lead ternary diagram are not easily hot or cold worked and are difficult to shape by hammering, the most common techniques used by the ancient Europeans and Middle Easterners. This did not deter the Chinese, however, for they had demonstrated technical proficiency with hard, thin walled ceramics by the end of the Neolithic period and were able to use these skills to develop a most unusual casting method called the piece mold process. Advances in ceramic technology played an influential role in the progress of Chinese bronze casting where the piece mold process was more of a technological extension than a distinct innovation. Certainly, the long and specialized experience in handling clay was required to form the delicate inscriptions, to properly fit the molds together and to prevent them from cracking during the pour.
    [Show full text]
  • 2019 AIM Program
    A Message from ASABE President Maury Salz Welcome to the 2019 Annual International Meeting (AIM) of the American Society of Agricultural and Biological Engineers in Boston, Massachusetts. I extend a special welcome to first time participants, international attendees and pre-professionals. I am confident you will find the meeting a welcoming and stimulating investment of your time. AIM offers a wide array of opportunities for you to gain knowledge in technical sessions, make new or catch-up with old friends at social events, contribute to the ongoing growth efforts in technical communities, and to celebrate the accomplishments of peers in the awards ceremonies. I highly encourage you to engage in the opening keynote session by GreenBiz’s Joel Makower and the following panel discussion on sustainability and the need for a national strategy, which could alter how we live. We as individuals, and collectively as ASABE, will be challenged to think about how this broader vision of sustainability could fundamentally change our lives and the profession. I want to thank our friends at Cornell University for serving as local hosts and the volunteer coordinators. Students work as volunteers to enhance the experience for all meeting participants and you can locate them by their blue shirts. Please thank them when you have the chance. Boston is rich in history and be sure to take some time to experience what this unique area has to offer. I also encourage you to participate actively in AIM and reflect on how you can advance the Society goals to benefit yourself personally and the people of the world.
    [Show full text]
  • Mnittv of Fmt ^Rt (M
    PAULGAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY DISSERTATION SUBMITTED IN PARTIAL FULFILMENT OF THE REQUIRIMENTS FOR THE AWARD OF THE DEGREE OF Mnittv of fmt ^rt (M. F. A.) BT MS. SAB1YA K4iATQQTI Under the supervision of 0^v\o-vO^V\CM ' r^^'JfJCA'-I ^ M.JtfzVl Dr. (Mrs.) SIRTAJ RIZVl Co-Supervisor PARTMENT OF FINE ART IGARH MUSLIM UNIVERSITY ALIGARH (INDIA) 1997 DS2890 ^^ -2-S^ 0 % ^eAtcMed to ^ff ^urents CHAIRMAN ALiGARH MUSLIM UNIVERSITY DEPARTMENT OF FINE ARTS ALIGARH—202 002 (U.P.). INDIA Dated. TO WHOM IT BIAY CONCERN This is to certify that Miss Sabiya Khatoon of Master of Fine Arts (M.F.A.) has completed her dissertation entitled "PAOL GAUGUIN AS IMPRESSIONIST PAINTER - A CRITICAL STUDY", under the supervision of Prof. Ashfaq M. Rizvi and Co-Supervision Dr. (Mrs.) Sirtaj Rizvi, Reader, Department of Fine Arts. To the best of my knowledge and belief, the work is based on the investigations made, data collected and analysed by her and it has not been submitted in any other University or Institution for any Degree. 15th MAY, 1997 ( B4RS. SEEMA JAVED ) ALIGARH CHAIRMAN PHONES—OFF. : 400920,400921,400937 Extn. 368 RES. : (0571) 402399 TELEX : 564—230 AMU IN FAX ; 91—0571—400528 CONTENTS PAGE ND. ACKNOWLEDGEMENT 1. INTRODUCTION 1-19 2. LIFE SKETCH OF PAUL 20-27 GAUGUIN 3. WORK AND STYLE 28-40 4. INFLUENCE OF PAUL 41-57 GAUGUIN OWN MY WORK 5. CONCLUSION ss-eo INDEX OF PHOTOGRAPHS BIBLIOGRAPHY ACKNOWLEDGEMENT I immensely obliged to my Supervisor Prof. Ashfaq Rizvi whose able guidance and esteemed patronage the dissertation would be given final finishing.
    [Show full text]
  • Inventory of the Collection Chinese People's Movement, Spring 1989 Volume Ii: Audiovisual Materials, Objects and Newspapers
    International Institute of Social History www.iisg.nl/collections/tiananmen/ INVENTORY OF THE COLLECTION CHINESE PEOPLE'S MOVEMENT, SPRING 1989 VOLUME II: AUDIOVISUAL MATERIALS, OBJECTS AND NEWSPAPERS at the International Institute of Social History (IISH) International Institute of Social History www.iisg.nl/collections/tiananmen/ For a list of the Working Papers published by Stichting beheer IISG, see page 181. International Institute of Social History www.iisg.nl/collections/tiananmen/ Frank N. Pieke and Fons Lamboo INVENTORY OF THE COLLECTION CHINESE PEOPLE'S MOVEMENT, SPRING 1989 VOLUME II: AUDIOVISUAL MATERIALS, OBJECTS AND NEWSPAPERS at the International Institute of Social History (IISH) Stichting Beheer IISG Amsterdam 1991 International Institute of Social History www.iisg.nl/collections/tiananmen/ CIP-GEGEVENS KONINLIJKE BIBLIOTHEEK, DEN HAAG Pieke, Frank N. Inventory of the Collection Chinese People's Movement, spring 1989 / Frank N. Pieke and Fons Lamboo. - Amsterdam: Stichting beheer IISG Vol. II: Audiovisual Materials, Objects and Newspapers at the International Institute of Social History (IISH). - (IISG-werkuitgaven = IISG-working papers, ISSN 0921-4585 ; 16) Met reg. ISBN 90-6861-060-0 Trefw.: Chinese volksbeweging (collectie) ; IISG ; catalogi. c 1991 Stichting beheer IISG All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the publisher. Niets uit deze uitgave mag worden vermenigvuldigd en/of openbaar worden gemaakt door middel van druk, fotocopie, microfilm of op welke andere wijze ook zonder voorafgaande schriftelijke toestemming van de uitgever. Printed in the Netherlands International Institute of Social History www.iisg.nl/collections/tiananmen/ TABLE OF CONTENTS Table of Contents v Preface vi 1.
    [Show full text]
  • The Destruction of Art
    1 The destruction of art Solvent form examines art and destruction—through objects that have been destroyed (lost in fires, floods, vandalism, or, similarly, those that actively court or represent this destruction, such as Christian Marclay’s Guitar Drag or Chris Burden’s Samson), but also as an undoing process within art that the object challenges through form itself. In this manner, events such as the Momart warehouse fire in 2004 (in which large hold- ings of Young British Artists (YBA) and significant collections of art were destroyed en masse through arson), as well as the events surrounding art thief Stéphane Breitwieser (whose mother destroyed the art he had stolen upon his arrest—putting it down a garbage disposal or dumping it in a nearby canal) are critical events in this book, as they reveal something about art itself. Likewise, it is through these moments of destruction that we might distinguish a solvency within art and discover an operation in which something is made visible at a time when art’s metaphorical undo- ing emerges as oddly literal. Against this overlay, a tendency is mapped whereby individuals attempt to conceptually gather these destroyed or lost objects, to somehow recoup them in their absence. This might be observed through recent projects, such as Jonathan Jones’s Museum of Lost Art, the Tate Modern’s Gallery of Lost Art, or Henri Lefebvre’s text The Missing Pieces; along with exhibitions that position art as destruction, such as Damage Control at the Hirschhorn Museum or Under Destruction by the Swiss Institute in New York.
    [Show full text]
  • Download File
    On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze Age, ca. 1000-500 B.C.E Minna Wu Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMIBIA UNIVERSITY 2013 @2013 Minna Wu All rights reserved ABSTRACT On the Periphery of a Great “Empire”: Secondary Formation of States and Their Material Basis in the Shandong Peninsula during the Late Bronze-Age, ca. 1000-500 B.C.E. Minna Wu The Shandong region has been of considerable interest to the study of ancient China due to its location in the eastern periphery of the central culture. For the Western Zhou state, Shandong was the “Far East” and it was a vast region of diverse landscape and complex cultural traditions during the Late Bronze-Age (1000-500 BCE). In this research, the developmental trajectories of three different types of secondary states are examined. The first type is the regional states established by the Zhou court; the second type is the indigenous Non-Zhou states with Dong Yi origins; the third type is the states that may have been formerly Shang polities and accepted Zhou rule after the Zhou conquest of Shang. On the one hand, this dissertation examines the dynamic social and cultural process in the eastern periphery in relation to the expansion and colonization of the Western Zhou state; on the other hand, it emphasizes the agency of the periphery during the formation of secondary states by examining how the polities in the periphery responded to the advances of the Western Zhou state and how local traditions impacted the composition of the local material assemblage which lay the foundation for the future prosperity of the regional culture.
    [Show full text]