超越叙事厭倦&焦慮·體驗 4.0 的技藝基礎

創作人怎麼訴說呢?假如他是一位設計家,就用他的設計訴說吧。

設計家的想法都在的設計裏。

是存在主義大師薩特說的吧,“存在先于本質”。這是很自然的事對不對?

一個人不存在,也就没法子說什麼本質了。存在是什麼?

心頭的覺知而已;有覺知有領悟,才可能開始和世界互動、對话。

人真的很孤獨,在設計的概念前,人更是孤獨;

你能問人說:這條線粗些好還是细些好?這用红色好還是籃色好?

如果事事都有答案,創作者的東西怎麼称得上創作,那東西早存在了。所以,創作不外是克服个人的孤獨。

包括和随着創作而来的荒谬感、無盡的苦悶、悲觀、失望和諧共處。

和谐,在這裏也不是没有衝突的意思,而是在衝突後有和解的可能。

Artwork style by Vincent Bourilhon

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海絲路·文化·軟實力

愛懇雲端藝廊:設計故事館

趙雅麗教授:意義+故事,文創產業的「核心引擎」

愛懇雲端藝廊:設計故事館

札哈哈蒂:房子能浮起來嗎?

技藝設計

體驗設計

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Comment by 私貨珍藏 on February 8, 2024 at 5:42pm


Conclusions


While it would seem unrealistic that the dominance, or hegemony (Levin, 1993), of the visual will be overturned any time soon, that does not mean that we should not do our best to challenge it. As critic David Michael Levin puts it: “I think it is appropriate to challenge the hegemony of vision– the ocular-centrism of our culture.

And I think we need to examine very critically the character of vision that predominates today in our world. We urgently need a diagnosis of the psychosocial path ology of everyday seeing– and a critical understanding of ourselves as visionary beings.” (Levin, 1993, p. 205).

While not specifically talking about architecture, what we can all do is to adopt a more multisensory perspective and be more sensitive to the way in which the senses interact, be it in architecture or in any other as pect of our everyday experiences.

By designing experiences that congruently engage more of the senses we may be better able to enhance the quality of life while at the same time also creating more immersive, engaging, and memorable multisensory experiences (Bloomer & Moore, 1977; Gallace & Spence, 2014; Garg, 2019; Spence, 2021; Ward, 2014). Stein and Meredith (1993, p. xi), two of the foremost multisensory
neuroscientists of the last quarter century, summarized this idea when they suggesting in the preface to their in fluential volume The merging of the senses that: “The in tegration of inputs from different sensory modalities not only transforms some of their individual characteristics, but does so in ways that can enhance the quality of life.

Integrated sensory inputs produce far richer experiences than would be predicted from their simple coexistence or the linear sum of their individual products.” There is growing interest across many fields of endeavour in design that moves beyond this one dominant, or perhaps even overpowering, sense (Lupton & Lipps, 2018). The aim is increasingly to design for experience rather than merely for appearance. At the same time, however, it is also important to note that progress has been slow in translating the insights from the academic field of multisensory research to the world of architec
tural design practice, as noted by licensed architect Joy Monice Malnar when writing about her disappointment with the entries at the 2015 Chicago Architecture Biennial.

Comment by 私貨珍藏 on February 8, 2024 at 5:41pm

There, she writes: “So, where are we? What is the current state of the art? Sadly, the current research on multisensory environments appearing in journals such as The Senses & Society does not appear to be impacting artists and architects participating in the Chicago Biennial. Nor are the discoveries in neuroscience offering new information about how the brain relates to the physical environment.” (Malnar, 2017, p. 153).19 At the same time, however, the adverts for at least one new residential development in Barcelona promising residents the benefits of “Sensory living” (The New York Times International Edition in 2019, August 31–Septem ber 1, p. 13), suggests that at least some architects/de signers are starting to realize the benefits of engaging their clients’/customers’ senses. The advert promised that the newly purchased apartment would “provoke their senses”.

Ultimately, it is to be hoped that as the growing awareness of the multisensory nature of human perception continues to spread beyond the academic community, those working in the field of architectural design practice will increasingly start to incorporate the multisensory perspective into their work; and, by so doing, promote the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional well-being.

(Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

Related:

地方感性

愛懇雲端藝廊:設計故事館

Comment by 私貨珍藏 on February 7, 2024 at 3:17pm


Senses of place: architectural design for the multisensory mind

Abstract: Traditionally, architectural practice has been dominated by the eye/sight. In recent decades, though, architects and designers have increasingly started to consider the other senses, namely sound, touch (including proprioception, kinesthesis, and the vestibular sense), smell, and on rare occasions, even taste in their work. As yet, there has been little recognition of the growing understanding of the multisensory nature of the human mind that has emerged from the field of cognitive neuroscience research. This review therefore provides a summary of the role of the human senses in architectural design practice, both when considered individually and, more importantly, when studied collectively. For it is
only by recognizing the fundamentally multisensory nature of perception that one can really hope to explain a number of surprising crossmodal environmental or atmospheric interactions, such as between lighting colour and thermal comfort and between sound and the perceived safety of public space. At the same time, however, the contemporary focus on synaesthetic design needs to be reframed in terms of the crossmodal correspondences and multisensory integration, at least if the most is to be made of multisensory interactions and synergies that have been uncovered in recent years. Looking to the future, the hope is that architectural design practice will increasingly incorporate our growing understanding of the human senses, and how they influence one another. Such a multisensory approach will hopefully lead to the development of buildings and urban spaces that do a better job of promoting our social, cognitive, and emotional development, rather than hindering it, as has too often been the case previously. (Source: Senses of place: architectural design for the multisensory mind by Charles Spence; in Cognitive Research: Principles and Implications (2020) 5:46 Keywords: Multisensory perception, Architecture, The senses, Crossmodal correspondences)

Comment by 私貨珍藏 on January 29, 2024 at 11:14am


CXO vs. CMO

Customer experience, not marketing, is becoming the main focus for many brands. This causes some companies to replace the CMO role with a CXO, which is often a rebranding rather than the firing and replacement of a CMO. However, many organizations still have both CMO and CXO roles.

Chief marketing officer

Traditionally, the CMO is responsible for driving marketing strategy, which includes understanding the company's position in the market, directing marketing campaigns and overseeing branding strategies. However, the roles of the CXO and CMO often overlap, and CMOs are expected to have skill sets and tools that drive CX strategies.

Chief experience officer

The CXO drives the company's entire CX strategy. This involves mapping customer journeys, overseeing the customer success and customer service teams, and digging into customer data analytics. The CXO is often responsible for improving employee experience and engagement, while a CMO is generally not.

How to become a successful CXO


Becoming a CXO requires a combination of experience, skills and qualifications. Some of the most important qualifications to prepare for the CXO role are the following:

• Gain experience in CX and UX. Aspiring CXOs should build strong foundations in CX and UX principles. This would involve working in roles that enable them to understand customer needs and behaviors on platforms like social media, conduct user research and design intuitive user interfaces.

• Develop leadership skills. CXOs are responsible for leading cross-functional teams and collaborating with other C-level executives. Potential CXOs should increase their leadership abilities by taking on managerial roles when the opportunity arises, attending leadership development programs and seeking mentorship from experienced professionals.

Comment by 私貨珍藏 on January 29, 2024 at 12:07am

• Acquire business acumen. CXOs must have a deep understanding of their organization's business goals, objectives and various departmental functions. To get this, they should seek out experience in areas where the business's CX strategy must align, such as marketing, finance, operations and data analytics.

• Foster collaboration and partnership. Collaboration is essential for a CXO to succeed. CXOs should cultivate strong partnerships with other C-level executives such as the chief financial officer, CMO, chief information officer and chief human resources officer. This will help CXOs gain buy-in for CX initiatives and ensure the integration of CX into all aspects of the organization.

• Stay on top of industry trends. CXOs attend conferences and webinars, as well as read relevant publications, to monitor the latest CX trends, technologies and best practices. This can help CXOs expand their knowledge, drive innovation and retain a competitive advantage.

Future of the CXO role

The role of a CXO is dependent on the evolving nature of CX. As CX changes, the CXO position and job description will also change. Some important trends that could affect the role of the CXO include the growth of AI and automation technologies. AI and automation are already changing the speed and accuracy of analytics-based customer profiles. CXOs must understand these technologies to lead personalization, automation and other future projects.

At the same time, CXOs must balance increased use of AI and automation with ethical and responsible CX practices. As data privacy, security and responsible AI concerns grow, CXOs will have to ensure ethical and responsible handling of customer data to build trust with customers. CXOs will play a critical role in driving ethical CX practices and maintaining transparency in data collection and usage.

Source: https://www.techtarget.com

Comment by 私貨珍藏 on January 20, 2024 at 1:06pm


Sasar Lipis sebagai UNESCO Global Geopark menjelang 2026-MB Pahang

KUALA LIPIS - Kerajaan Pahang menyasarkan Lipis yang dimasyhurkan sebagai Geopark Kebangsaan hari ini mendapat pengiktirafan Pertubuhan Pendidikan, Kebudayaan dan Saintifik Pertubuhan Bangsa-Bangsa Bersatu (UNESCO) Global Geopark (UGGp) menjelang 2026.

Menteri Besarnya, Datuk Seri Wan Rosdy Wan Ismail berkata, pengiktirafan sebagai Geopark Kebangsaan yang ke-11 negara itu berkuat kuasa pada 9 November lepas, iaitu setahun selepas kerajaan Pahang memulakan usaha untuk mendapatkan pengiktirafan tersebut.

Pengiktirafan itu menjadikan Lipis Geopark yang berkeluasan 5,408 kilometer persegi iaitu meliputi keseluruhan daerah Lipis, sebagai Geopark Kebangsaan termuda dan terbesar di Malaysia buat masa ini.

"Pelaksanaan Lipis Geopark adalah selari dengan draf perancangan Blueprint Pahang Destinasi Warisan Dunia 2024-2028, untuk menjadikan Pahang destinasi bertaraf dunia bagi pengiktirafan tapak berjenama UNESCO di bawah kategori Tapak Warisan Dunia (WHS), program Manusia dan Biosfera (MAB) dan UGGp," katanya.

Wan Rosdy berkata demikian semasa berucap pada Majlis Pemasyhuran Lipis sebagai Geopark Kebangsaan di Taman Negara Sungai Relau di sini hari ini, yang turut dihadiri Timbalan Menteri Sumber Asli dan Kelestarian Alam, Datuk Seri Huang Tiong Sii.

Yang di-Pertuan Agong, Al-Sultan Abdullah Ri'ayatuddin Al-Mustafa Billah Shah berkenan mencemar duli menyempurnakan pemasyhuran itu.

Selain itu, Wan Rosdy berkata, antara kawasan yang diangkat sebagai tapak Geopark Kebangsaan itu ialah Galeri Aspirasi Lipis Geopark, Geotapak Bernilai Kebangsaan dan Geotapak Bernilai Geopelancongan, dengan setiap satunya mempunyai sejarah yang boleh diceritakan kepada pelancong.

"Saya diberitahu terdapat bukti perlanggaran dua benua kecil iaitu Malaya Barat dan Malaya Timur di daerah ini lebih kurang 200 juta tahun lepas yang membentuk Semenanjung Malaysia seperti hari ini.

Al-Sultan Abdullah berkenan mendengar penerangan daripada Pengarah Bahagian Reakreasi Alam Semulajadi, Perhilitan Semenanjung Malaysia, Haidar Khan Makbol Hassan (kanan) ketika mencemar duli berjalan melalui Treetop Walk, Taman Negara Pahang, Sungai Relau selepas menyempurnakan Majlis Pemasyhuran Lipis sebagai Geopark Kebangsaan di Taman Negara Sungai Relau di sini hari ini. Foto Bernama

(18 Januari 2024; sinarharian)


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lipisgeopark

Comment by 私貨珍藏 on January 9, 2024 at 10:40am


王臻儒·文化之窗|成人之後,才是成才

近日,一段短視頻在網絡引發熱議。某小學內,正當班主任要給學生上文化課時,一位體育老師敲門向班主任「借一節課」。獲得班主任的同意後,體育老師問學生:「打雪仗,去嗎?」孩子們先是楞了一下,隨後興高采烈地拍手叫好。

雪天雖冷,但教育是有溫度的。對於大部分學生來說,雪天本就是罕見的美景,能夠賦予人們獨特的生活閱歷。許多成年人的童年回憶中,打雪仗都是記憶深刻的一部分。對於這一代青少年而言,雪天提供的成長意義同樣重要。孩子成長的表現之一,就是學會欣賞世間的美好,學校和教師在美育中的引導和鼓勵,更是他們形成正確認知的關鍵。

遺憾的是,很多人並不理解、支持這種理念。從孩子們驚愕的神情中也不難看出,體育課成功「篡位」文化課的情況,之前「從未出現」。隨著中小學教育「內卷」程度加劇,很多文化課教師為了確保學習效果,占用體育課等素質教育課程,為學生補課。「被請假」的「副科」老師,正在讓教育的缺口越來越大。

打雪仗能讓學生的心情得到放鬆,從而以更飽滿的狀態投入學習。相比看見窗外下雪卻不能出去玩耍的失落,勞逸結合、張弛有度才是提升教育質量的有效手段。曾有網友發帖回憶自己的學生時代,印象最深的是上課期間老師突然停下了板書,鼓勵同學們擡頭看看窗外的夕陽。當時做題的思路或許早已忘記,但那天的夕陽卻會在記憶深處伴隨學生的一生。教育的地點不只有學校,在教室之外,自然環境和運轉的社會同樣為學生提供了源源不斷的學習素材;教育的成果不只有高分和好學校,健全的人格、良好的審美、感知幸福的能力,更能讓人受益終身。成人之後,才是成才。

這種行為收獲社會支持的同時,我們也期待越來越多的老師多一些對孩子的理解,給予他們釋放天性的機會。不過,在為這位體育老師點贊的同時,人們也不妨直面其中的顧慮和隱憂。視頻中,班主任叮囑的一句「別把孩子弄病了」,道出了老師們的兩難。雪大路滑,「放飛自我」的打雪仗容易導致學生滑倒、受傷。

放孩子們出去打雪仗,教師看似在進行「放養式」教育,實則承擔著更大的安全管理責任。但如果因噎廢食,放棄享受這一年不多見的雪景,或許會給學生帶來更大的遺憾。堵不如疏,學校和教師應該進行合理引導,以未雨綢繆的姿態排除雪天校園安全隱患,為學生提供打雪仗的前提條件,才能讓孩子們更好地享受校園生活。(原載:大眾日報記者王臻儒;2023-12-18;來源:大眾報業·大眾日報客戶端))

Comment by 私貨珍藏 on January 1, 2024 at 5:38pm


生產青年文化體驗

政府及青年組織、文化生産商都在參與制造青年文化,這已經成爲既成的事實。主流文化和大衆文化參與建構青年文化的目標和方式有所不同,主流文化采取意識形態和組織化方式建構青年文化,是爲了讓青年認同和支持主流價值觀念和行爲方式;大衆文化采用市場化策略吸引和左右青年的文化行爲,無論標榜的是制造歡樂還是爲青年提供表現的平台,最終的目的還是爲了經濟利益。但是,兩者之間並非泾渭分明,更非勢同水火。主流文化和大衆文化的界限在當代中國就是個問題。中國社會主義新文化建設的方向,就是“民族的科學的大衆的文化”。

“大衆的”主要意思是指:堅持爲人民服務,爲社會主義服務;充分體現人民的利益和願望;爲人民群衆所喜聞樂見;滿足人民不同層次的、多方面的、豐富的、健康的精神需要;反映社會主義時代精神,激發人民群衆建設社會主義事業的積極性。這樣的文化關鍵是在群衆性、娛樂性,而流行文化更要講大衆性、娛樂性。于是,兩者的區別,只在能否滿足主流意識形態的要求上和市場化方面。而在政府發展文化産業之時,市場化和消費性的界限也消失了,唯一的區別就是滿足主流意識形態的程度。

20世紀70、80年代中國流行文化因與官方意識形態相抵觸而被作爲“精神汙染”或“資産階級自由化”來批判,在21世紀兩者之間的關係和諧、密切多了。無論大衆文化是“欺騙群衆的啓蒙精神”,還是日常生活審美化的方式或民主意識的土壤,它都在與主流文化積極合作。在這種情況下,西方學者有關大衆文化與主流文化關係的各種理論,不能說完全失效,也需要“本土化”。當然,這並非此處要討論的問題。我們需要討論的問題是,在主流文化與大衆文化共同參與建構青年文化,而青年文化又借用或吸納主流文化、大衆文化的物品和符號系統乃至價值觀念的情況下,青年文化是否還具有相對的自主性和獨立性。

包括青年在內的大衆面對大衆文化是完全被動的還是會采取各種積極的參與策略,有各種不同的觀點。法蘭克福學派和伯明翰學派的就截然相異。具有啓發意義的是約翰·費斯克化用羅蘭·巴特(Roland Barthes)“作者式文本”而提出的“生産者式文本”的概念。

按照費斯克的觀點,大衆文本應當是“生産者式”的。“‘生産者式文本’爲大衆生産提供可能,且暴露了不論是多不情願,它原本偏向的意義所具有的種種脆弱性、限制性和弱點;它自身就已經包含了與它的偏好相悖的聲音,盡管它試圖壓抑它們;它具有鬆散的、自身無法控制的結局,它包含的意義超出了它的規訓力量,它內部存在的一些裂隙大到足以從中創造出新的文本。它的的確確超出了自身的控制。

這些文本允許‘作者性’,因爲它們無法阻止它。社會體驗並不受文本的控制,它決定了文本與社會關係的結合,並且驅動大衆的生産力。”[8]面對“生産者式文本”,讀者就能有自己的選擇,就能夠進行生産和再生産。青年在面對大衆文化之時也是如此,不是完全被大衆文化所控制,而是能夠從中創造出新的文本。因此,對青年積極參與其中的大衆文化,可以作爲青年文化。“超級女生”等電視秀,屬于大衆文化的範疇,之所以能夠被作爲青年文化現象,並不在于參與者以青年爲主,而在于青年對它有自己的解讀。青年不是被動的,而是在互動中保持一定的主動性。

在當代中國和西方,確實存在沒有受到消費文化汙染的青年文化,但將青年文化和大衆文化完全分割開來是不可能也不現實的,而將青年文化作爲大衆文化的一部分也忽視了青年在大衆文化中扮演的特別角色。“青年不是簡單被動地吸收直接面對他們的廣告和媒體形象,而是在對這些脫離大衆傳媒供應商控制的文化文本的重讀中,爲了自己的目的有選擇地解釋它們和重新占有它們。”[9]在文化生産商將青年作爲重要的消費對象並從青年文化中挖掘商機的時候,青年其實也從大衆文化中尋找可用于自身的物品、符號和行爲方式。青年文化就是在與主流文化、大衆文化的互動中建構起來。(見:青年文化的建構與互動

Comment by 私貨珍藏 on August 30, 2023 at 11:49am


“後人類”媒體藝術體驗

張尕:全球藝術界對於人類紀以及後人類話題已形成普遍的共識。這個項目正是以“後人類”(Posthuman)、“生態”(Ecology)和“共同體”(The Commons)三大主題構建起收集、敘述和評論的語境。這個項目的首期已完成預定的論文約稿和翻譯,網站數據庫與網頁設計以及相關資料收集也在進行中,計劃於20224月初正式以中、英文雙語上線。我們計劃在今後條件成熟時也將其翻譯成西班牙語,這樣將覆蓋全球最普遍的三大語種。歡迎大家4月後訪問這個網站(http://mediaart21.org)

孫嘉:許多媒體藝術的作品和展覽能夠呈現炫目的感官效果,在您看來,這是否容易流於感官、流於表面,甚至容易成爲網絡熱門“打卡”地點?但如果我們轉念來看,是否感官享受也同樣重要,訴諸感官也是藝術本身的應有之義?

張尕:彼得·奧斯本(Peter Osborne)《Anywhere or Not At All: Philosophy of Contemporary Art》一書中認爲,所謂當代藝術即是後觀念藝術(post-conceptualism)。符號和語義因而成爲解讀當代藝術的一個主要途徑。媒體藝術從某種意義上講,是以在場與介入來直接獲得作品的意義,從這點上看,也是對以文本爲導向的當代藝術主流的一種反動以及對於(西方)20世紀六七十年代實驗精神的一種複歸,重新賦予藝術以感官爲主導的現像學經驗。漢斯·貢布萊希特(Hans Ulrich Gumbrecht)在《現場(存在)的生産》(The Production of Presence)一書中很精闢地説過:“現代(包括當代)西方文化可以被描述爲不斷擯棄‘在場(的存在)’的過程。而某些由最先進的通訊技術所帶來的‘特殊效果’很有可能起到重新激活‘在場’欲念的關鍵作用。”

孫嘉:您曾策劃2011年中國美術館“延展生命:媒體中國2011”展覽、2019年知美術館“‘生長’”國際生物藝術展。能否請您談談生命/生物藝術?我們今天面臨着很多環境污染、生態危機等問題,生命/生物藝術是否能介入對這些問題的討論,並産生影響?

張尕:“延展生命:媒體中國2011”以及“齊物等觀;媒體中國2014”,“生長”展,包括2018年廣州三年展我策劃的單元“機器不孤單”等都是從多重主體性,以及生態多樣、多元共生的思考來擺脫人類中心説的桎梏,並從宇宙政治的維度來檢討地緣政治的局限等後人類的視角來反思現代性、人類中心論(Anthropocentrism)以及由此所導致的生態危機、環境污染等人類世的普遍困境和焦慮。我所倡導的,更多的是從傳統的物種論,以及自然主義的生態概念所出走的,建立在廣義生態論(general ecology)基礎上的生物和生態藝術。這樣的藝術已越來越多地融入藝術家的實踐之中,來喚起公衆意識和社會的回響。張尕︱藝術意義:創造個人獨特宇宙 [3]

延續閱讀〈齊物等觀~那個朦朧的欲望之物〉

Comment by 私貨珍藏 on August 24, 2023 at 9:26am


歷史審美體驗


德國學者卡西爾在評價赫爾德的歷史觀時提到「使過去復活」的歷史觀:歷史就是力圖把所有這些零亂的東西、把過去的雜亂無章的支梢末節熔合在一起,綜合起來澆鑄成新的樣態。在歷史哲學的近代奠基者之中,赫爾德最清晰地洞察到了歷史過程的這一面……赫爾德具有使過去復活,並使人的道德、宗教和文化生活的一切斷篇殘跡都能雄辯地說話的巨大個人能力……赫爾德的「清掃法——不僅僅只是從垃圾中淘出金子,而是使垃圾本身再生為活的作物」。[13]

赫爾德這種歷史活化的觀念在法國藝術史家丹納的文化史研究中得到進一步深化、具體化的闡釋和應用。丹納在談到對文化遺產的研究時指出:

它們只是作為了解完整的活生生的存在的一個線索才是有價值的。我們必須返回到這種
存在中去,努力地重造它……真正的歷史只有當歷史學家穿越時間的屏障開始解釋活生生的人時才得以存在……一種語言,一部法規,一本教義手冊,無非只是一種抽象的東西:具體的東西乃是活動著的人、有形可見的人,是飲食起居、戰鬥勞動著的人。……讓我們使過去成為現在。[14]

「讓我們使過去成為現在」,不等於說「過去」的事情在今天重復發生,而是說讓記憶穿過歲月的化石回到生命的動態過程,喚醒當代人的心靈。「過去」是曾經發生過的事件,而進入「現在」的是想像、體驗和情感認同所建構的審美意象。記憶的喚醒實質就是通過審美體驗而活化的傳統精神。

古老的民間文化和僻遠的土著社會在當代人看來似乎陌生而怪誕,似乎難以進入「現在」的審美體驗。然而,近幾十年來的文化保護與文化復興建設證明,集體記憶的跨代復活和跨文化體驗並非不可能。審美經驗的活化不是特定生活經驗的返古再現而是生態情境的重構。高小康·從記憶到詩意:走向美學的非遺[4])

[13]卡西爾:《人論》,甘陽譯,第 225 頁,上海譯文出版社 2004 年版。

[14]丹納:《英國文學史》,第 1 頁以後,轉引自卡西爾《人論》,第 247 頁。

愛墾網 是文化創意人的窩;自2009年7月以來,一直在挺文化創意人和他們的創作、珍藏。As home to the cultural creative community, iconada.tv supports creators since July, 2009.

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