近世湖湘文化精神与20世纪湖南小说叙事

20世纪湖南小说家用得最多的叙事视角还是传统的全知视角,也有不少作品是采用第一人称"我"叙述的,但这个叙述者"我"和作者几乎没有距离,是一个自我叙事者。叙事视角的选择是由以政治作为人生第一要义、以经世致用作为立身处世的基本原则的湖湘文化精神规约着的20世纪湖南作家创作心理定势的强力表达。20世纪湖南小说文本中的叙事关系大多可用"叙述者(作者)———人物"模式来表示,叙事语式和语态大多是作者经历、身分、思想情感的一种直接的投射。20世纪湖南小说文本的叙事视角还存在一个"隐含作者"现象。忧患的叙述情调是与20世纪湖南小说叙事视角相关的一个特点。20世纪湖南小说叙事语式和语态带有明显的局限性。     

Meeting the Needs of Visually Impaired People Living in Lifetime Homes

ABSTRACT

This article explores perceptions on the suitability and effectiveness of Lifetime Homes standards (LTHS) for those with visual impairment in Northern Ireland. LTHS are a series of mandatory United Kingdom public-sector housing design interventions, providing a model for ensuring accessible and adaptable homes throughout an occupant's life span. An aging demographic with increasing incidence of diabetes has led to rising numbers of elderly, visually impaired people wanting to remain in their homes for longer. Qualitative semi-structured interviews were conducted with 13 key stakeholders and thematically analyzed. Although findings show that employing LTHS offers benefits to visually impaired residents, shortcomings were also identified. Evidence indicates a need for policy makers, health-care professionals, and housing associations to modify practices to better meet the housing needs of visually impaired people. Findings may also be applicable to those with other impairments and disabilities in relation to housing for elderly residents.     

视觉人类学的三个维度

看或被看,是一种不可避免的状态。就我们在什么情况下在场观看？观看者和被观看者处于什么关系？透过我们的观看,呈现的是自己文化的影像记忆,还是现实人文的多重镜像？我们的图像如何具有我们的文化特质等问题,本文结合2009年在昆明召开的国际人类学与民族学联合会第16届大会研讨情况,对“我看人,人看我;我看人,也看我;我看人怎么看我”三个视觉人类学角度做些论述,以期和学界同仁分享大会研讨成果。     

Exploring provocation as a research method in the social sciences

Abstract

This paper explores provocation as an approach towards social science research. While routinely used in natural science and arts research, this paper argues provocation might enable the social science researcher to initiate critical reflection amongst participants on issues that are often otherwise overlooked, obscured or accepted as naturalised practice. By assuming the role of provocateur, stimulator and/or agitator, the social science researcher can interrupt the flow of everyday life in order to illuminate and draw attention to complex social issues. Using research interventions that embrace, rather than deny, the socially constructed nature of the research process, provocation provides an alternative to largely non-obtrusive methods favoured in much social science research. This paper concludes by outlining the practical and methodological issues associated with this approach – in particular the complicated ethics of provoking reflection on topics that might not have otherwise come to the participant’s attention.     

Mandalas as a visual research method for understanding primary care for depression

Depression is a complex problem, commonly but not always successfully managed in primary care. We know relatively little about the system of primary care for depression particularly at the level of organisations. In this paper, we describe the use of mandalas as a visual data collection method within an in-depth programme of participatory action research undertaken in six primary care organisations in Victoria, Australia. We draw on mandala images, selected and discussed by 49 multidisciplinary primary health care professionals and demonstrate how they can be employed as an effective graphic elicitation method. We conclude that mandalas offer an innovative approach for qualitative data collection for two reasons. First, they can engage busy research participants in a reflective space. Second, using the mandalas as an elicitation method generates meaningful data: it provides new insights, reveals unrecognised aspects of practice, generates new learning, gives physical form to tacit processes and enables complex information to become accessible; all within short timeframes.     

Environmental social science: human–environment interactions and sustainability

Visual methods with children have gained interest as social researchers search for participatory methods that align with the current conceptualisation of children as social agents. This paper describes the reflections and experiences of using the home movie as an innovative vehicle allowing access to children’s everyday life. This method was adapted and used to encourage high levels of child-led participation and minimise researcher input. This paper explores practical and methodological strengths, challenges, and ethical questions arising from the production of home movies by the children and suggests that the home movie is an acceptable means for generating insight into children’s perspectives and to produce and reflect visual representations of children’s social worlds.     

管窥台湾视觉传达设计的现代性转换——从概念与理念的角度

战后台湾设计是中国现代艺术设计史的重要组成部分,以设计艺术学内沉式的概念流变、图像视觉语言分析、视觉传达教育理念变革为内容,探讨和梳理了台湾视觉传达艺术设计由传统的“工艺”、“图案”诸概念逐步迈向现代设计的历史脉络。分别从日据时代“侵略的现代性”、美援时代“西化的现代性”、视觉传达设计教育与设计实务中的现代性进程三个方面探讨了台湾艺术设计现代性的另类表述。     

曼德拉山岩画的存在论分析

无论是从被视知觉感觉到或经验到的意义和物体或现象来看,还是就曼德拉山岩画自身生存的具体语境而言,整个曼德拉山岩画视觉语言系统都可以被区分为独体岩画和合体岩画两个子系统。前者指内部有着一定结构关系的、相对独立存在的、意义相对完满自足的单个岩画形式,后者指由两个或两个以上独体岩画形式结构的、相对独立存在的岩画形式。曼德拉山岩画里比较多的是合体岩画形式。     

清末民初摄影术传入对传统视觉经验及其趣味的影响

文章概述了清末民初摄影术传入中国的过程及其对传统视觉经验格局产生的影响,揭示了现代性市民文化发展的历史必然性,以及世俗感性的趣味中所包含的对人性满足的合理性,旨在为中国传统视觉艺术和现代视觉文化的发展提供相应的理论支撑。     

基于机器视觉的音叉式表晶谐振裸片分选方法研究

针对表面未被银的32768Hz手表用晶体谐振音叉裸片自动检测分选的要求,提出了一种基于机器视觉的晶片自动上料及分选方法并实现了相应的系统,介绍了分选系统的总体结构,着重阐述了视觉分选模块的工作原理,讨论了相应的机器视觉处理算法。实验结果表明该方法能有效地检测音叉片相应外观参数,达到自动分选的目的。