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＂通灵宝玉＂是《红楼梦》中所构拟的一枚具有神力的玉石。《红楼梦》通过对＂通灵宝玉＂的情节设计,对我国传统玉文化进行了全方位的反思,既没有全面肯定,也没有全盘否定。《红楼梦》对玉石成因和功能的理解带有浓重的神话和宗教色彩,对玉石的自然美给予了浓墨重彩的歌颂,对社会不同阶层的人对玉石的态度进行了准确的描绘,对玉石市场上赝品流行的现象进行了揭露,并对平民百姓制作玉石赝品给予了一定程度的同情。＂通灵宝玉＂不仅是一块美玉,也是一个象征符号,具有封建世袭继承制的象征意味,它可以决定一个人的政治权力、经济地位、生活方式和婚姻选择,曹雪芹对此做了巧妙而深刻的批判。《红楼梦》中的玉文化是曹雪芹对他所处时代的玉文化的立体写照。 相似文献
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Margaret Wickens Pearce 《The Cartographic journal》2014,51(2):107-122
AbstractThis article presents the cartographic outcome of a 3-year collaboration with Penobscot Nation Cultural & Historic Preservation to map the traditional place names of Penobscot territory in the state of Maine. After a consideration of the challenges of mapping Indigenous place names, I describe my cartographic contribution to the project, to transform the map design using the tools of narrativity and translation. Initial insights about Penobscot place names then led to wider insights regarding Indigenous place names and traditional cartography, through a comparison to similar practices in the place name traditions of other communities. I then explain how these insights influenced the design of the map itself. 相似文献
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none 《The Cartographic journal》2013,50(2):153-156
AbstractThere is currently a high demand for spatial data usage within web applications. From a technical viewpoint, web services and geoportals aim to fulfil user requirements; however, the current cartographic methods do not satisfy the needs of the end users. The problem is more challenging when the final map contains data from various sources that have various cartographic characteristics; therefore, the vital information might be located under the base map layer. In this paper, we propose the concept of layer priorities as foreground, middle ground or background, and we propose the two following methods to enhance the symbolisation: polygon overlay and colour saturation methods. The results from two case studies show that these methods can satisfy the requirements of the end users. 相似文献
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