从利奥塔的元叙事危机看我国私人写作的意义

让一弗·利奥塔对当代知识与叙事特别是元叙事的合法性问题进行了探讨,最后得出元叙事的危机以及与之相关的普遍主体、现代知识分子神话的解体。本文试以此理论为基础,阐述我国私人写作的权利与意义。     

The Cut and the Continuum: Sophie Ristelhueber’s Anatomical Atlas

From her early photographs of the ruinous aftermath of the Lebanon War in Beirut (1982) to her more recent images of bomb craters in Eleven Blowups (2006), the French artist Sophie Ristelhueber has been intent to maintain, in her own metaphor, ‘the analytical distance of an anatomy lesson’. Exhibiting the evidence of warfare but withholding their explanation, Ristelhueber’s provocative gesture of making art of war, removing human conflicts from their political contexts to render them as still-lifes, ready-mades, earthworks, or surrealist poems, is patently anti-journalistic. In keeping with the artist’s surgical analogy, this article explores Ristelhueber’s aesthetic mode of address as one that shares its fundamental operation with that of photography – namely, to make a cut. Retracing the morphology of recurring imprints and injuries that appear across the terrestrial and corporeal expanses traversed in her work, the article considers the ways in which these cuts pertain to the transformative power of violence and images alike.     

Actualising (Overlooked) Material Capacities

An emphasis on material synthesis is not without its pitfalls and challenges. Here Branko Kolarevic , Professor and Chair in Integrated Design at the University of Calgary Faculty of Environmental Design, alerts us to the dangers of overlooking materials' shifting capacities, which are so often scale dependent, while also disregarding existing materials in favour of the new or novel. As the potential grows for material systems in buildings to become more adaptive and to harness automation, Kolarevic describes some exciting developments that are taking place in dynamic facade design, providing the much-heralded promise of an efficient use of ambient energy.     

In the Pursuit of Pleasure: The Not so Fleeting Life of the Pavilion and its Ilk

Author and architecture critic for the London Evening Standard, Robert Bevan reflects on the enduring appeal of the temporary structure, speaking ‘to a latent desire for freedom and movement’ as a hangover of our nomadic past in a sedentary ‘civilised’ society. He highlights the type's historical apex in Henry VIII's palatial pop-up on the Field of the Cloth of Gold, questioning the purpose and purposelessness of more recent examples.     

薄型竹棉混纺弹力牛仔布的开发

介绍了生产竹棉混纺弹力牛仔布的设计思想及络筒、整经、浆染、织造工序的工艺要求和关键技术,染浆工序采取小张力、保伸长、低粘度,织造工序采取小开口、低后梁的工艺配置,能较好地确保浆轴质量及织造产品质量.     

Personal Reflections on 60 Years of Psychology: Many Roads to Truth.

The author selects from her 60 years of personal experiences examples of conflicting views within the profession of psychology on the means of discovering and creating knowledge and truth. She presents vignettes of differences that occur within professional education, research, the regulation of the profession, and beliefs about diversity. Aspirational ethics, as in the Canadian Code of Ethics for Psychologists, is inspiring and unifying in using moral principles to bring together apparently divergent people and divergent views to serve our common humanity. Diversity can enrich. CPA's motto of "Advancing Psychology for All" is a commitment to place the welfare of society individually and collectively above self-interest. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

On being an assistant to Professor Bott's assistant.

Continues the tribute to Edward Alexander Bott with a conversation between C. R. Myers and Mary Jean Wright, Professor of Psychology and Director of the Laboratory Pre-School at the University of Western Ontario. Wright relates her experiences as an assistant to Bott's assistant during her first year at the University of Toronto. (PsycINFO Database Record (c) 2010 APA, all rights reserved)     

Pieces of the Past: Early Photomontage and the Voice of History

A key dimension of photomontage is the way that its formal features – and consequent debates about the probity of making a photograph out of multiple sources – illuminate some of the fundamental problems of representation in the late nineteenth century. Among these was the question of whether an account of the past was properly presented as an unmediated transmission of fact, or demonstrably fashioned by an author: whether the tools of representation were to be submerged or emphasised. This article examines the parallels between the strategies of authorial visibility in early photomontage and the rhetorical approaches adopted by historians to modulate their presence in their texts. In particular, this study investigates the convergences of historiography and photomontage around the collapse of the Second Empire, a moment that witnessed powerful shifts in the conception of the voice of the historian as well as the production of photomontages that grappled with – and even thematised – the problem of their constructedness. An important but little-known group of photomontages by Eugène Appert, depicting the Imperial family in exile as well as the emerging Third Republic from which they fled, registers these conjunctions in their full complexity.     

Puerta of Dreams

Inside, Puerta América is a hotchpotch, but the problem is lessened by using the arch-minimalist John Pawson to design the communal areas, creating a passive backdrop to the chaos of themes that inhabit the rooms on different floors. A few architecture critics have claimed that some of the more famous contributors have merely placed their signature style within a hotel context. Copyright © 2005 John Wiley & Sons, Ltd.