Animals in Art and Culture

Artykuł stanowi przegląd flamandzkich tematów malarskich XVI i XVII w., w których pojawiały się s winie. Były one przedstawiane w sztuce od najdawniejszych czasów. W przeciągu stuleci nadawano im różne znaczenia symboliczne. Większość z nich miała ewidentnie negatywne konotacje: grzech, rozpusta, żarłoczność, lenistwo itd. Jednocześnie świnie były – ze względu na swoją rolę gospodarczą – ważną częścią przedstawień miesięcy i pół roku (symbolem listopada bądź grudnia było świniobicie). Rozwijająca się we Flandrii animalistyka przedstawiała trzodę chlewną. Bogatą symbolikę świń wykorzystywano do celo w moralizatorskich. Przedstawienia syna marnotrawnego ostrzegały przed upadkiem moralnym. Wypędzane przez Chrystusa demony wchodzą w trzodę wieprzy. Świnie były też symbolem rozpusty i żarłoczności. W malarstwie flamandzkim były jednak także przedstawienia s win o neutralnym lub pozytywnym wydźwięku. Prosię towarzyszyło św. Antoniemu. Kirke przemieniła towarzyszy Odyseusza w wieprze. Świnia była bohaterką przysłów. Wreszcie, zwierzęta te były niezbywalnym elementem krajobrazu Niderlandów. Prowadzono je na targi i sprzedawano. Tuczenie i bicie świń były tradycyjnymi pracami listopadowo-grudniowymi, które zabezpieczały pożywienie na długie, zimowe miesiące. Ubite prosięta były jednym z kluczowych elementów martwych natur kuchennych i targowych. Obfitość przedstawianych na nich mięs symbolizowała dostatek Flandrii pierwszej połowy XVII w., a zarazem przypominała o śmierci i przemijaniu.

AI时代，哲学何为？艺术何为？本书汇集了当代技术哲学研究领域代表人物许煜过去十年的重要研究成果，试图阐释与技术时代相关的诸多关键问题，内容涵盖哲学、技术和艺术三个领域。在本书中，我们可以看到许煜对哲学史，尤其是个体化理论的关注，看到他对海德格尔和西蒙东等人的哲学的诠释与拓展；可以看到他提出的宇宙技术概念，他旨在建构一种新的哲学探究方式，从而超越西方技术理论；还可以看到他长期以来对利奥塔的传奇展览“非物质”的研究，以及他新近试图表述的山水逻辑。这本书展现了许煜的哲学风格，以及他跨越哲学、技术和艺术的思考策略。

This essay examines a little-known but important installation entitled Insure the Life of an Ant, conceived by artist Mike Malloy and displayed at the O.K. Harris Gallery in New York in April of 1972. This provocative and idiosyncratic piece confronted gallery-goers, who became viewer-participants, with the option of killing or saving a live ant displayed like a sculpture on a pedestal, either by pushing a button or not. The artist made the piece, which can function almost like a psychology experiment, to engender a "moral dilemma". I explore the particular role of affect in a participatory art installation, distinct from response to inanimate art. I investigate the roles of emotion and reason in dealing with the work; whether ratiocination can be considered an "anti-affect"; and how the tension between competing thoughts and feelings helped create a psychological drama. The essay looks at how an art space can operate as a zone of moral exceptionalism to encourage questionable actions. It also locates the piece in relation to the emergence of a more behaviorist art in the early 1970s, as discussed by critic Gregory Battcock, and the larger notion of postmodernism. Other contexts investigated include art and animal rights and issues of sentience and speciesism; social and military violence, including capital punishment and the Vietnam War; the 1961 Milgram experiment; Hannah Arendt's concept of the "banality of evil" as a Nazi war criminal defense; and other works of art involving maltreatment or violence toward both human and non-human animals, including those by Marina Abramović, Marco Evaristti, and Edward and Nancy Reddin Kienholz.

Georgeos Díaz-Montexano, Vitalitius Accepted Member of The Epigraphic Society

El artículo analiza y refuta la hipótesis de Daniel Iborra Pellín sobre la palabra ibera iunstir/iumstir como el nombre de una deidad femenina asociada al planeta Venus. Iborra segmenta iunstir en iun (nombre de diosa) y stir (lexema indoeuropeo que algunos relacionan con la semántica de "astro"), estableciendo conexiones con diosas mediterráneas como Astarté, Juno y Uni. Sin embargo, el análisis lingüístico expone que dicha segmentación no concuerda con las reglas fonotácticas del ibero, siendo más plausible que iunstir/iumstir sea un término del léxico común compuesto por el radical iuns/iums y un sufijo frecuente (+tir/+dir). Además, su alta frecuencia en textos ibéricos contradice la identificación como teónimo, ya que los nombres de divinidades suelen ser mucho menos frecuentes.

El autor del análisis también señala que la mayoría de las ocurrencias de iunstir/iumstir aparecen en contextos no religiosos, como textos comerciales y quizá en algunos legales, lo cual refuerza la interpretación de que se trata de un sustantivo o verbo de uso común, posiblemente relacionado con funciones comerciales, saludos o mandatos.

Asimismo, se cuestiona la asociación de iunstir con diosas mediterráneas debido a la falta de evidencia epigráfica sólida que respalde tal relación.

En conclusión, el análisis refuta la hipótesis de Iborra, sugiriendo que iunstir/iumstir no es un teónimo sino un término cotidiano en el ibero.

近年来，被安置在生活空间中的印刷图片随处可见，笔者将这类事物统一称作“空间贴图”。从生物学、经济学、戏剧与影视学角度看，空间贴图有存在的必要性。尽管如此，看似是在制造假象、掩盖瑕疵、制造视觉欺骗的空间贴图却从未真正说服人们去相信这些假象。空间贴图是人主观需要和需求的反映，无关客观的真假。In recent years, printed images integrated into living spaces have become common, referred by the author as “Space Collage.” In the scholarship of biology, economics, and theatre/film studies, there are reasons for such printed images to exist. Yet, despite its creation of illusions, concealment of flaws, or production of visual trickery, Space Collage never truly convinces viewers of these false realities. Instead, it reflects human subjective needs and desires, independent of any objective truth.

Library is a rapidly evolving space in modern history. Its social function and architectural type have tremendously expanded. Libraryness is a key indicator of the relationship between this spatial type and the era and the city space. This article interprets the formal archetype of the Shanghai Library East in relation to the spatial topology archetype of the Mobile City model from a topographical perspective. It argues that the Shanghai Library East is created as a humanist landmark in Shanghai, between the near-natural environment and the high-density urban space in the far. The architectural space serves as a metaphor for Shanghai’s various cultural life through inclusiveness and openness.

羅仕龍，〈從《青銅馬》的文本、演出與導演談十九世紀法國戲劇舞台上的中國形象〉，福建師範大學文學院《海峽人文學刊》第3卷第4期（2023年12月），頁110-119。【中國人民大學書報資料中心《舞台藝術（戲曲、戲劇）》轉載，2024年第4期，第89-98頁。】

司克里布的喜剧《青铜马》首演于1835 年，并于1857 年重演于巴黎歌剧院。该剧的制作结合同时期重要艺术家，共同发展出极富中国情调又具有奇幻色彩的浪漫爱情故事。此出改写自《一千零一夜》故事的《青铜马》，寄寓着时人对于远东中国的想象。根据其故事来源、剧本情节，以及同时代报刊剧评、剧院档案等史料，可检视十九世纪法国戏剧舞台上的中国形象演变及传播。同时，通过关注戏剧制作的外在条件和导演工作，说明他们参与建构十九世纪法国戏剧舞台上的中国想象的方式。

This article focuses on a portrait of Brook Boothby by the English painter Joseph Wright from Derbyshire. The image of the reclining Boothby in the painting is seen as a melancholic man dating back to Elizabethan and early Stuttgart portraits of melancholic literary figures. However, the sinuous curves of Boothby's body and his feminine temperament are very close to a type of figure that was popular in 18th century chinoiserie. Why are there remnants of the Chinoiserie period in a male portrait from the late 18th century? The author attempts to discuss another hidden thread outside the prevailing narrative of chinoiserie by starting from the evolution of reclining male portraiture in 18th century England and examining the cultural conflicts around taste, identity and gender in 18th century English society.

Tras una breve introducción sobre su biografía y personal estilo, se anota una representación de los artrópodos que aparecen en la pintura y la obra gráfica de José Hernández, uno de los artistas españoles contemporáneos más significativos dentro del Realismo Mágico. En sus obras son frecuentes numerosas sugerencias artropodianas, así como diferentes tipos de artrópodos: cangrejos, grandes escarabajos negros, arañas, ácaros, zapateros, cigarras, mantis, cucarachas, langostas, chicharras, mariposas, mosquitos y moscas, algunos casi omnipresentes en su producción. Con la herencia cultural que la mayoría de estos animales tienen en Occidente, se intenta interpretar la intencionalidad y significación que ellos representan en sus trabajos.

近年来，中文科幻研究已成为世界范围内
的一门显学，美国韦尔斯利学院的宋明炜教授
无疑是这个领域的领军人物。宋明炜自2012
年举起“中国科幻新浪潮”的旗帜，既是英语
学界系统探讨中文科幻的首位学者，亦是当代
中国科幻小说走向世界的重要推手。如今，十
年的热浪终于成型，密涅瓦的猫头鹰也要起飞。
在最新的英文专著《看的恐惧：中文科幻的一
种诗学》（由美国哥伦比亚大学出版社于2023
年10 月出版）一书中，宋明炜开始为中国科
幻新浪潮建构历史论述、书写诗学特征。其一
方面将科幻作为“不可见性”的文学表达，颠
覆现实主义之类的既有范式，重新绘制中国现
当代文学的历史版图；另一方面则以巴洛克的
褶子、异托邦想象、后人类颠覆为理论切入点，
借由对刘慈欣、韩松等人作品的文本解读，理
解现代性之后的世界。

Aiming to understand the Thai society' s view and imagination of its overseas Chinese, this article investigated and compared the representation of the Thai-Chinese image and culture in 'Yu Kap Kong (Living with Grandpa)' (1993) and 'In Family We Trust' (2018), two popular TV dramas about the overseas Chinese in Thailand, in different periods. It was found that numerous cultural elements, such as the tea culture, Qingming festival, and Chinese traditional ideologies, were portrayed in the dramas. In addition, some scenes depicted a high degree of the assimilation of the Chinese in Thailand and some mainstream ideas about the Chinese in Thailand. For instance, the difference in socioeconomic status was in line with the mainstream narrative on the Chinese virtues, such as industriousness, thrift, and honesty, which enable them to change their social status from the poor to one of the wealthiest

For the public program of Hu Yun’s exhibition *Mount Analogue* at Rockbung Art Museum, scholar, editor and curator Dr. Adeena Mey gives a presentation on the exhibition, followed by a conversation with Hu Yun. Mey analyses *Mount Analogue* with questions concerning the development of epistemology as a discipline, the production of museum knowledge and its practices, and situating it with the works of Hu Yun and other artists.

Catalogue de l'exposition "Un rêve français, de l’École au Salon, les Beaux-Arts à Paris au XIXe siècle, dans les collections du Centre nationale des arts plastiques et de l'École nationale supérieure des beaux-arts de Paris", du 31 janvier au 6 mai 2018, Musée national de Chine (Pékin) et du 9 juin au 8 juillet 2018, Musée provincial du Yunnan (Kunming)

当代艺术家崔岫闻的代表作《洗手间》（2000）充分体现了女性主义跨媒介性 。首先，《洗手间》从偷拍到影像艺术的跨媒介创作手法打碎了凝视的性别编码，在主体-客体的反转中让视觉主导者变成了具有阈限性的窥/凝视者。其次，《洗手间》多元的理解方式体现了跨媒介艺术和女性主义作品共同特征：开放式、体验性、去中心化。第三，崔岫闻将绘画的形式语言带入了影像剪辑逻辑，使《洗手间》结合了绘画和影像两种艺术形式，进入女性群像画的艺术史。另外，借鉴60年代激浪派所提倡的“媒介观念融合”考察《洗手间》，可呈现艺术作品的社会参与性和时代意义。

per il presente. Preziosa la testimonianza di alcuni autori del '900 sul tema dell'Interno (Giancarlo Vitali, Duilio Bartolini, Giancarlo Ossola e Kei Mitsuuchi), interpreti raffinati di una cultura attenta alle forme della vita. Grande intensità espressiva è presente nelle opere di altri quattro artisti (Andrè Castinel, Bernard Damiano, Raffaele Capuana e Gabriele Poli) che affrontano il tema della figura e del volto. Nel lavoro degli artisti contemporanei Huang Xinkuo, Huang Zhenlong, Liu Wu, Luo Yu, Olinsky e Zhou Yuxi, la pittura racconta in modi molto diversi la propria vita e visione, senza abbandonare la figurazione mentre il linguaggio più astratto e concettuale è visibile nelle opere di Cong Ming, Guo Mingxuan e Wu Jilan. Anche la fotografia vuole raccontare l'uomo in rapporto allo spazio e lo fa in modo intenso attraverso le opere di Cui Yaowen, Fu Chengjin, Liang Yi e Zhang Xingyuan mentre nel racconto di Qu Siyu il paesaggio ha una resa fotografica ambigua ed illusoria. L'arte digitale nelle opere di Bao Fusheng, Lin Yingyi, Lyu Xiangyi e Xia Kai, racconta in forme molto diverse fra astrazione e figurazione, la visione articolata dell'artista così come per i video creati da

Li Zishu and Fatimah Busu are both indigenous writers of Malaysia. Their literary writings reveal a sense of concern over women due to their own female identity, but at the same time show different points of view towards gender issues due to their respective ethnic cultures. Their writings reflect the situation of women living in patriarchal social culture, and express the idea of pursuing gender equality by directly expressing their stands, or diametrically deconstructing patriarchy in their works. When juxtaposing their gender consciousness, the distinction and contradiction between them would be obvious, in which this comparison would lead to the questions: Is the idea of gender equality pursuing absolution? Also, what is the space for the idea to grow? Regarding the gender ethics and constraints, this essay is aimed to find out the gender ethics in the gender consciousness of Li Zishu and Fatimah Busu from three perspectives, which are "body and image", "gender expectation and spiritual pursuit" and "sex and sin".

Aunque destacan el melodrama y el humor, en la filmografía de Almodóvar tienen peso las historias criminales que se caracterizan por tratamientos singulares, alejados de las convenciones del género; en ellas predomina la narrativa anticonvencional, la renuncia a los estereotipos y a los mecanismos de intriga, la ambigüedad del acto criminal o la ausencia de juicio moral y las motivaciones exóticas en los personajes. Los actos criminales están vinculados a situaciones extremas determinadas por el amor, el sexo, las pasiones y los deseos, que se sobreponen a la voluntad y libertad de los personajes.

从 1870 年代开始在各类“说教地图”和政治漫画中出现的巨型章鱼始终是一种邪恶势力的象征， 其中包括《1877 年庄谐版战争地图》、澳大利亚排华运动中象征华人的章鱼漫画等。而章鱼的这种邪恶形象的 出现与雨果《海上劳工》的出版有着直接关联。雨果在著作中将章鱼解释为一种“恶”的意志在自然中的体现。 但是雨果笔下的章鱼形象又是从 17 世纪博物学家德尼·孟福尔的作品中获得灵感。孟福尔在其博物学作品 中将搜集到的关于章鱼的证据进行夸大甚至扭曲，并将它认定为北欧海怪“克拉肯”的原型。虽然孟福尔的论 断被博物学家们所否定，但 19 世纪下半叶大量出现的巨型乌贼的记录让博物学家们仍倾向于将克拉肯与头 足纲动物关联到一起。今天，“邪恶章鱼”的形象依旧不断地出现在包括小说、漫画、卡通、电影在内的各类艺 术作品当中。

This book explores various aspects relevant to restaurant design, including restaurant management concept, establishment of brand image and connection between different functional areas. Through 100 restaurant design cases, it proves that the secret of a restaurant' success lies in the unique dining experience it offers to customers. It also tells us the stories about the creation process by the designers with different professional and cultural experiences. The principles of restaurant design are a broad concept, which exposes the rules and methods during the course of restaurant design. The designers may rapidly enhance their abilities to control the project, to analyse, and to present abstractly. Comparing with speciied design guide, the principle is more helpful to present concepts, and conduct the creation of divergent thinking. This book includes comprehensive information of the selected cases, including background, design concept, course of realisation, and construction methods, and the panorama rendering is the most recommended. The bird's-eye view of panorama renderings clearly shows the interior space division and linear setting, and under the guidance of arrows views of different areas are directly brought to readers to show the relationship between areas. The book includes: Chapter1 Orientation of Taste and Image, discusses the start point of restaurant design, and how to realise initial judgment through speciied and effective methods. Chapter 2 Cuisine Theme Design, covers restaurant designs involving several main cuisines, and exposes key design details of different cuisine themes through case study. Chapter 3 Entrance Design, discusses how the restaurant image design enhances the taste and competitiveness of the restaurant. Chapter 4 Plane Layout Design, summarises several effective layout design methods with focus on the most important area, the dining area in the restaurant, based on study of successful cases. Chapter 5 Linear Design, discusses several effective methods of interior space organisation, which use horizontal and vertical lines. Chapter 6 Space Layout, proposes several methods for continuing and innovating interior space layout through discussion about some limited forms of restaurant interior. Chapter 7 Interface Design, discusses how to improve visual effect of restaurant interior through the most concise method. Chapter 8 Illumination Design, discusses the role illumination plays in restaurant design and proposes several effective solutions. Chapter 9 Choice of Thematic Decoration Elements, emphasises the aim of restaurant design, namely providing a unique dining experience to the customer, and points out various practicable possibilities through speciic cases.

Neurocinematics is a new interdisciplinary field of contemporary research. The discovery of mirror neurons and subsequent research has overturned the traditional “sandwich” model of cognition, and the theory of embodied simulation has further revealed the pivotal role of “reuse” motor system in brain in encoding social cognitive processes such as action-intention understanding, empathy, decision-making or choice, and reward. It has also shed light on the brain and neural mechanisms underlying film reception. Based on the field of neurocinematics, this paper attempts to integrate the recent results in the field of mirror neurons as evidence to describe the embodied revolution in neurocinematics in terms of camera movement, continuity editing, and haptic-visual expressivity. It provides a scientific argument for Deleuze’s philosophical assertion that “the brain is the screen”.

Los anaglifos verbales inventados por Lorca y sus compañeros de la Residencia no son sólo prueba del espíritu de desenfado jovial y desafío al sentido común de ese famoso grupo de artistas, sino que se enlazan con su actividad creadora y con el ambiente cultural de la época, principalmente con los avances científicos y tecnológicos. Este trabajo toma en cuenta esos enlaces revelando que las burlas de estos juegos, con sus rasgos característicos de humor, frivolidad e intrascendencia, son expresión de serias veras en lo que concierne al arte y las perspectivas sobre la realidad y la identidad de estos artistas.

Call for Papers for the interdisciplinary volume 'Weder Fisch noch Fleisch': Animal Preservation before 1850 in Theory and Practice

- Abstracts (350 words): May 31, 2024
- Submission date of the complete contribution (with up to 40,000 characters and 3-4 illustrations): November 15, 2024.
- Publication (print + OA): 2025

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Call for Papers: Sammelband zur frühen Tierpräparation

- Abstracts (max. 350 Wörter) bis zum 31. Mai 2024
- Beiträge (bis 40.000 Zeichen) bis November 2024
- Publikation (print + OA) geplant für 2025

The paper starts from Gyorgy Kepes’ transparency theory of spatial locations in the early 20 th century and Colin Rowe’s argument about literal transparency and phenomenal transparency in the 1960 s, to Beatriz Colomina’s perspective of new media to understand the transparency in the digital era, in order to rethink the transparency of SANAA under different scales of various physical spaces, contexts, theories and technologies, making transparency become an analytical method to stimulate more possibility of spatial design and reading.

No se pueden retrotraer en el tiempo, de manera indiscriminada, los contenidos de ninguna documentación mitológica, religiosa o cultual 1. Un mito medieval puede integrar interpretaciones propias tanto de la Edad Media como de la Antigüedad. En última instancia, es un mito medieval, con independencia de cuáles sean sus antecedentes, y desvalorizar la existencia de todo tipo de Grundformen nunca ha de servir para colar por la puerta trasera a quienes no han obtenido un buen lugar en la taquilla de la crítica filológica. Ya que Filón de Biblos aseveraba haber extraído sus noticias de una obra escrita con anterioridad a la guerra de Troya, el endeble puente que