من الاعمال المكتوبة استخدمت تكرار التي كانت تشبه فن كوبي?
جيرترود ستاين
The influence of cubism extended to other artistic fields, outside painting and sculpture. In literature, the written works of Gertrude Stein employ repetition and repetitive phrases as building blocks in both passages and whole chapters. Most of Stein's important works utilize this technique, including the novel The Making of Americans (1906–08). Not only were they the first important patrons of Cubism, Gertrude Stein and her brother Leo were also important influences on Cubism as well. Picasso in turn was an important influence on Stein's writing. تمتد تاثير احصائي الى مجالات فنية اخرى, خارج الرسم والنحت. في الادب, الاعمال المكتوبة ل جيرترود ستاين تستخدم التكرار والعبارات المتكررة بوصفها كتل بناء في كل من المقاطع والفصول باكملها. معظم اعمال (ستاين) الهامة تستخدم هذه التقنية, بما في ذلك رواية صنع الامريكيين (1906-08). لم تكن فقط اول من الرعاة الهامة ل احصائي, جيرترود ستاين و اخيها ليو كانوا ايضا من التاثيرات الهامة على احصائي ايضا. بيكاسو بدوره كان له تاثير مهم على كتابة ستاين. Der Einfluss von Kubismus erweitert sich auf andere künstlerische Felder, außerhalb von Malerei und Skulptur. In der Literatur beschäftigen die schriftlichen Werke von Gertrude Stein Wiederholungen und repetitive Sätze als Bausteine in beiden Passagen und ganzen Kapiteln. Die meisten der wichtigen Werke von Stein nutzen diese Technik, darunter auch den Roman Das Making of Amerikaner (1906-08). Nicht nur waren sie die ersten wichtigen Förderer von Kubismus, Gertrude Stein und ihr Bruder Leo waren auch wichtige Einflüsse auf Kubismus. Picasso wiederum war ein wichtiger Einfluss auf Stein 's Schreiben. La influencia del cubismo se extendió a otros campos artísticos, pintura exterior y escultura. en la literatura, las obras escritas de gertrude stein emplean repeticiones y frases repetitivas como bloques de construcción en ambos pasajes y capítulos enteros. La mayoría de las obras importantes de stein utilizan esta técnica, incluyendo la novela la fabricación de los estadounidenses (1906-08). No sólo fueron los primeros patrocinadores importantes del cubismo, Gertrude Stein y su hermano leo también fueron importantes influencias en el cubismo también. Picasso a su vez fue una influencia importante en la escritura de stein. चित्रकारी और मूर्तिकला के बाहर, अन्य कलात्मक क्षेत्रों के लिए क्यूबिज़्म का प्रभाव विस्तारित किया गया । साहित्य में, आरती स्टीन के लिखित काम दोनों मार्ग और पूरे अध्यायों में बिल्डिंग ब्लॉक के रूप में पुनरावृत्ति और दोहराए गए वाक्यांशों को लागू करते हैं । स्टीन के अधिकांश महत्वपूर्ण काम इस तकनीक का उपयोग करते हैं, जिसमें उपन्यास द मेकिंग ऑफ़ अमेरिकन (1906-08) शामिल है । न केवल वे क्यूबिज़्म, आरती स्टीन और उनके भाई लियो के पहले महत्वपूर्ण संरक्षक थे, जो क्यूबिज़्म पर भी महत्वपूर्ण प्रभाव थे । स्टेन के लेखन पर पिकासो का एक महत्वपूर्ण प्रभाव था । Sự ảnh hưởng của hoạ mở rộng cho các lĩnh vực nghệ thuật khác, bức tranh bên ngoài và điêu khắc. Trong văn học, những tác phẩm viết của Gertrude Stein tuyển dụng lặp lại và lặp lại các cụm từ khi xây dựng các dãy nhà trong cả hai đoạn và toàn bộ chương. Hầu hết các tác phẩm quan trọng của Stein đều sử dụng kỹ thuật này, bao gồm cả tiểu thuyết Việc làm của người Mỹ (1906-08). Không chỉ là những người phụ nữ quan trọng đầu tiên của Cubism, Gertrude Stein và anh trai Leo của cô ấy cũng là những ảnh hưởng quan trọng trên Cubism cũng như vậy. Picasso lần lượt là một ảnh hưởng quan trọng về bài viết của Stein. 立体主义的影响延伸到其他艺术领域, 外画和雕塑. 在文学中, 格特鲁德·斯坦因的书面作品使用重复和重复短语作为两段段落和整个章节的积木. 斯坦因的大部分重要作品都使用了这种技术, 包括小说美 国人 的 制造 (1906-08). 他们不仅是立体主义的第一个重要赞助者, 格特鲁德·斯坦因和她的兄弟里奥也对立体主义也是重要的毕加索反过来是对斯坦因写作的一个重要影响.
一个有序的一系列脚本的传统照片, 每一个都突然发明, 然后完全取代了前一个, 已最终被证明是由考古发现和20世纪初和21世纪初的学术研究的虚构.... 逐渐进化和两个或更多脚本的共存更经常是这样的情况. 早在商王朝, 甲骨文-骨剧本就与竹 书的正常剧本(保存在典型的青铜铭文中)一起共存, 以及在很多很多精心设计的图案形式(往往是氏族标志)青铜. जापानी कॉमिक्स और कार्टूनिंग (मंगा),[जी] एक ऐसा इतिहास है जो 12 वीं-से-13 वीं-सदी chōjū-jinbutsu-गीगा, 17 में मानवरूपी पात्रों के रूप में वापस देखा गया है । वीं-सदी तोबा-ए और kibyōshi चित्र किताबें, और ब्लॉक प्रिंट जैसे ukiyo-ई जो 17 वीं और 20 वीं शताब्दी के बीच लोकप्रिय थे । kibyōshi में अनुक्रमिक छवियों, आंदोलन लाइनों और ध्वनि प्रभाव के उदाहरण हैं । En el idioma inglés, las obras de Shakespeare han sido un terreno particularmente fértil para la crítica textual-tanto porque los textos, como se transmite, contienen una cantidad considerable de variación, y porque el esfuerzo y los gastos de producción de ediciones superiores de sus obras siempre han sido ampliamente visto como vale la pena los principios de la crítica textual, aunque originalmente desarrollado y refinado para obras de antigüedad, la biblia y Shakespeare, se han aplicado a muchas obras, extendiendo hacia atrás desde el presente a los documentos escritos más tempranos conocidos, en Mesopotamia y Egipto -un período de unos cinco milenios. sin embargo, la aplicación de las críticas textuales a las obras no religiosas no nacidas la invención de la impresión. Mientras que el cristianismo ha sido relativamente receptivo a la crítica textual, la aplicación de la misma a la Torá judía (masorético) y el Corán es, a los devotos, tabú.[se necesita mención] In the English language, the works of Shakespeare have been a particularly fertile ground for textual criticism—both because the texts, as transmitted, contain a considerable amount of variation, and because the effort and expense of producing superior editions of his works have always been widely viewed as worthwhile. The principles of textual criticism, although originally developed and refined for works of antiquity, the Bible, and Shakespeare, have been applied to many works, extending backwards from the present to the earliest known written documents, in Mesopotamia and Egypt—a period of about five millennia. However, the application of textual criticism to non-religious works does not antedate the invention of printing. While Christianity has been relatively receptive to textual criticism, application of it to the Jewish (Masoretic) Torah and the Qur'an is, to the devout, taboo.[citation needed] In der englischen Sprache waren die Werke von Shakespeare ein besonders fruchtbaren Boden für Text Kritik - beide, weil die Texte, wie übertragen, eine beträchtliche Menge an Variation enthalten, und weil die Bemühungen und Kosten der Produktion von überlegenen Ausgaben seiner Werke schon immer waren weithin als lohnenswert angesehen. Die Prinzipien der Text, obwohl ursprünglich entwickelt und raffiniert für Werke der Antike, die Bibel und Shakespeare, wurden auf viele Werke angewendet, die rückwärts von der Gegenwart bis zu den frühesten bekannten Dokumenten, in Mesopotamien und Ägypten, erweitert werden -eine Zeit von etwa fünf Jahrtausende. Die Anwendung von Text auf nicht-religiöse Werke anzünden jedoch nicht die Erfindung des Druck. Während das Christentum relativ empfänglich für Text Kritik war, die Anwendung von ihm an die jüdische (Judentum) Tora und der Koran ist, zum gottesfürchtige, Tabu.[Zitat erforderlich] Japanische Comics und zeichnen (Manga),[g] haben eine Geschichte, die so weit zurück gesehen wurde wie die anthropomorphe Charaktere im 12-bis-13 Jahrhundert Chōjū-jinbutsu-giga, 17 ten-E-und kibyōshi-Bild und Holzschnitt wie Ukiyo-e, die zwischen dem 17 und 20 Jahrhundert beliebt waren. Die kibyōshi enthielt Beispiele für sequentielle Bilder, Bewegung und Sound. Despite their usurpation of imperial authority, the Fujiwara presided over a period of cultural and artistic flowering at the imperial court and among the aristocracy. There was great interest in graceful poetry and vernacular literature. Two types of phonetic Japanese script: katakana, a simplified script that was developed by using parts of Chinese characters, was abbreviated to hiragana, a cursive syllabary with a distinct writing method that was uniquely Japanese. Hiragana gave written expression to the spoken word and, with it, to the rise in Japan's famous vernacular literature, much of it written by court women who had not been trained in Chinese as had their male counterparts. Three late tenth century and early eleventh century women presented their views of life and romance at the Heian court in Kagerō Nikki by "the mother of Fujiwara Michitsuna", The Pillow Book by Sei Shōnagon and The Tale of Genji by Murasaki Shikibu. Indigenous art also flourished under the Fujiwara after centuries of imitating Chinese forms. Vividly colored yamato-e, Japanese style paintings of court life and stories about temples and shrines became common in the mid- and late Heian periods, setting patterns for Japanese art to this day. The works of Virgil almost from the moment of their publication revolutionized Latin poetry. The Eclogues, Georgics, and above all the Aeneid became standard texts in school curricula with which all educated Romans were familiar. Poets following Virgil often refer intertextually to his works to generate meaning in their own poetry. The Augustan poet Ovid parodies the opening lines of the Aeneid in Amores 1.1.1–2, and his summary of the Aeneas story in Book 14 of the Metamorphoses, the so-called "mini-Aeneid", has been viewed as a particularly important example of post-Virgilian response to the epic genre. Lucan's epic, the Bellum Civile has been considered an anti-Virgilian epic, disposing with the divine mechanism, treating historical events, and diverging drastically from Virgilian epic practice. The Flavian poet Statius in his 12-book epic Thebaid engages closely with the poetry of Virgil; in his epilogue he advises his poem not to "rival the divine Aeneid, but follow afar and ever venerate its footsteps." In Silius Italicus, Virgil finds one of his most ardent admirers. With almost every line of his epic Punica Silius references Virgil. Indeed, Silius is known to have bought Virgil's tomb and worshipped the poet. Partially as a result of his so-called "Messianic" Fourth Eclogue—widely interpreted later to have predicted the birth of Jesus Christ—Virgil was in later antiquity imputed to have the magical abilities of a seer; the Sortes Vergilianae, the process of using Virgil's poetry as a tool of divination, is found in the time of Hadrian, and continued into the Middle Ages. In a similar vein Macrobius in the Saturnalia credits the work of Virgil as the embodiment of human knowledge and experience, mirroring the Greek conception of Homer. Virgil also found commentators in antiquity. Servius, a commentator of the 4th century AD, based his work on the commentary of Donatus. Servius' commentary provides us with a great deal of information about Virgil's life, sources, and references; however, many modern scholars find the variable quality of his work and the often simplistic interpretations frustrating. 这种收缩的使用和中国角色一样古老, 他们经常在宗教或仪式使用中被发现. 在甲骨文的骨头剧本中, 个人名字, 仪式物品, 甚至短语, 如受又(祐)寿司收到祝福通常承包成单个角色. 一个戏剧性的例子是, 在中世纪手稿中, 菩薩pusa 菩萨 (简化: 菩萨)有时是用一个单一的字符形成的, 由2 × 2网格的四个十组成(来自于两个十的草激进). 但是, 为了保持一致和标准化, cpc寻求限制在公开写作中使用这种复角色, 以确保每个角色只有一个音节. 维吉尔的作品几乎从他们出版的那一刻起就彻底改变了拉丁诗歌. 显现, 农事, 和最重要的是, 所有的aeneid成为了学校课程的标准文本, 所有受过教育的罗马人都很熟悉. 跟随维吉尔的诗人经常把intertextually提到他的作品, 以在自己的诗歌中产生意义. 全盛诗人奥维德在amores 1.1.1-2模仿aeneid的开幕线, 他在[变形的书]第14书中, 所谓的迷你aeneid, 被认为是一个特别重要的例子后virgilian对史诗类型的反应. 卢坎的史诗, 战争的民事被认为是一个反virgilian的史诗, 处理神圣机制, 处理历史事件, 和巨大的不同于virgilian史诗实践. 仙诗人statius在他的12本书史诗的中与维吉尔的诗歌密切接触; 在他的结语中, 他建议他的诗不要与神圣的aeneid竞争, 但跟随远方, 永远尊重它的脚步. 在斯italicus, 维吉尔找到了他最热情的崇拜者之一. 几乎每一句他的史诗般的石榴斯参考维吉尔. 实际上, 斯已知已经买了维吉尔的墓, 并崇拜诗人. 部分原因是他所谓的弥赛亚第 四 次 牧歌, 后来被广泛解释为预言耶稣基督-维吉尔的诞生是在后来的古代, 被认为有一个神奇的能力; 的vergilianae, 进程的过程用维吉尔的诗歌作为占卜工具, 在哈德良的时代被发现, 并继续进入中世纪. 在一个类似的静脉记得中, 亚将维吉尔的工作作为人类知识和经验的体现, 反映了希腊对荷马的概念. 维吉尔还在古代找到了评论家. servius, 一个4世纪广告的评论员, 基于他在donatus评注的工作. 处的评注为我们提供了关于维吉尔的生活, 来源和参考的很多信息; 然而, 许多现代学者发现他的工作的可变质量和往往简单化的解释令人沮丧.