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International Journal of Art & Design

ISSN 2166 - 0352 (Print)

ISSN 2166 - 0360 (Online)

Website: http://www.researchpub.org/journal/ijad/ijad.html

 
 

Geography of a Lost Artist: Myth of the Artist in Sam Shepard's Geography of a Horse Dreamer
Author(s) Shima Shahbazi, Hossein Pirnajmuddin, Helen Ouliaei Nia


Abstract
Sam Shepard's drama has a distinctive historiographic and mythic quality. Most of his plays portray characters (artists, cowboys, family men, etc.) in search of their identities in their past. "Myth of the artist" figures prominently in many of his "art" plays. Among these plays is Geography of a Horse Dreamer in which the protagonist is a parodic romantic artist whose imagination is corrupted by and whose art is commodified by the capitalist system. The protagonist represents the alienated artist in the postmodern era. This paper is an attempt to probe the parodic-mythic features of the play in the context of Shepard's arguably historiographic approach.


References
[1] Abrams et.al. Norton Anthology of English Literature. New York: Norton,1987.
[2] Barthes, Roland. Mythologies. New York: Noonday press, 1957.
[3] Bottoms, Stephen J. The Theater of Sam Shepard, States of Crisis. Cambridge: Cambridge University Press, 1998.
[4] Constable, Cathrine. "Science Fiction," in The Baudrillard Dictionary. Richard Smith, Ed. Edinburgh : Edinburgh University Press, 2010.
[5] DeRose, David J. Sam Shepard. New York: Macmillan, 1992.
[6] Hutcheon, Linda. .A Poetics of Postmodernism. New York: Routledge, 1988.
[7] ---The Politics of Postmodernism. New York: Routledge, 1989.
[8] Lynch, Patricia Ann, and Jeremy Roberts. Native American Mythology A to Z. New York: Chelsea House, 2010.
[9] McCarthy, Gerry. "Memory and Mind: Sam Shepard's Geography of a Horse Dreamer," in Rereading Shepard, Leonard Wilcox, Ed. New York: Palgrave, 1993, pp.58-76.
[10] Murphy, Brenda. "Shepard Writes about Writing," in Cambridge Companion to Sam Shepard, Matthew Roudané, Ed. Cambridge: Cambridge University Press, 2002, pp. 123-138.
[11] Shepard, Sam. "Geography of a Horse Dreamer," in Fool for Love and Other Plays. New York: Dial Press, 2006.
[12] Tucker, Martin. Sam Shepard. New York: Continuum, 1992.

Research on Exhibition Design of Comprehensive Expositions in Beijing in 2011
Author(s) Jiang Li


Abstract
Starting from comprehensive expositions held in Beijing in 2011 with two typical cases as references referring to two typical expositions cases, integrating application factors in modern exhibition design, on the principle of analytical research on features of exhibition design structure and expression and manifestation of comprehensive expositions, this paper shows that the design of comprehensive expositions particularly emphasizes on the interchange between man and objects, and between human beings, stressing social education and communication functions. Based on field research of exhibitions, design features of "objects" and "space" are summarized from numerous cases of exhibition booths, analyzing the relevance between their design expression and the demand of exhibitors as well as the need of audience, hence concluding a set of practical and efficient exhibition design models.


References
[1] Beijing Convention and Exhibition Industry Development Report 2011, University of International Business and Economics Press, Beijing, September 2011, p3.
[2] Ying Lijun, Governmental-Oriented Exhibition Development Report (2010), People Daily Press, Beijing, November 2010, pp31-32.
[3] Beijing Convention and Exhibition Industry Development Report 2011, University of International Business and Economics Press, Beijing, September 2011, pp107-120.
[4] Beijing Convention and Exhibition Industry Development Report 2011, University of International Business and Economics Press, Beijing, September 2011, pp121-128.
[5] Ying Lijun, Governmental-Oriented Exhibition Development Report (2010), People Daily Press, Beijing, November 2010.
[6] Huang Shihui, Wu Ruifeng, Exhibition Design, Sanmin Books Co., Ltd. Taipei, August 2000
[7] Wang He, Exhibition Art Education, People's Publishing House, Beijing, October 2008.
[8] Cheng Xuesong, Exhibition Space and Model Design, Shanghai University Press, Shanghai, December 2007.

Research on the Heritage and Development of Chinese Hui Ink Techniques and Art
Author(s) Huan Wang


Abstract
These paper explores Chinese Hui Ink heritage and development, probes its present situation integrating with Chinese Culture. The author intents to seek out an application and development route of Chinese Hui Ink art's heritage and innovation in contemporary society.


References
[1] Liyan Wang, "Q S Ming and Qing HUI ink study," Shanghai: Shanghai Ancient Books Publishing House, 2007-03-01
[2] Yi Wang, "Ancient Ink, Chinese ink cultural view," Shanghai Culture Press
[3] Liyan Wang, "thirty lectures on Collection of ancient ink knowledge," RONEBAOZHAI press, 2006
[4] Zhou Wen, "one of Four treasures of the study Chinese," overseas publishing house,2008
[5] Shaoliang Zhou, "Proceedings about Famous inks in Qing Dynasty," Cultural Relics Publishing House, 1982
[6] Yin, Runsheng, "Discussion on the Founding era of Chinese ink," Historical relics, pp.92, April. 1983.
[7] (Song Dynasty) Jiyi Chao, "Mo ching, " WENYUANGE electronic version of(Si Ku Quan Shu), Wuhan University press
[8] (Song Dynasty) Xiaomei Li, "Ink spectral method type," WENYUANGE electronic version of(Si Ku Quan Shu), Wuhan University press
[9] (Song Dynasty)Yijian Su, "Study room four spectrum," WENYUANGE electronic version of" Si Ku Quan Shu", Wuhan University press
[10] Xiaohui Wang, "Hu Kaiwen-famous Huizhou ink Businessman in Qing Dynasty." (Property rights Guide)Jan, 2008.
[11] Jueliang Zhou, "Sketch of Chinese ancient ink," Chinese historical relics, August, 2002.
[12] Liyan Wang, "Jijin Ink in Ming and Qing Dynasty," Chinese historical relics, August, 2002.

Analysis of Dress Colors of Huishan Clay Figurines at Early Stage
Author(s) Xiaojun Wei and Min li


Abstract
Wuxi Huishan colored clay figurines, widely renowned across the world for their unique artistic style, vivid Jiangnan folk colors and the strong flavor of rural life, play an important role in arts & crafts history of China. Dress colors of Huishan clay figurines in the same manner epitomize the folk culture of Jiangnan as well as the artistic wisdom of the folk artist in their long history of artistic creation ,and embody the outlook and meanings of the dressing culture in a peculiar medium .Based on statistics and analysis of 13 pieces of early clay figurines preserved in Wuxi Clay Figurines Museums, the paper summarizes features of color application of the dress of Huishan clay figurines, and their representation of applying rules to dress color of traditional/rural life.


References
[1] Jiakui Liu,Huishan Clay Figures.Shang Hai:Shang Hai people'sfine arts publishing house , 1962, pp.16.
[2] GenfaYao, Hongde Zhang.Si Se Pei Se Shou Ce.Shang Hai,:Shanghai Science and Technology Publishing House,1997.
[3] Rongrong Cui, "The Folk Costume Color Analysis of Modern Qilu Area," Journal of Donghua University(Social Science),2007,vlo.3,pp.44.
[4] Fanrong Zhang,"Discussion on the Color Culture of Chinese Traditional Dresses", Sci-Tech Information Development & Economy,2005,vol.15, pp.17.

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