A. Prof. Xudong Liu, Macau University of Science and Technology, Macau, China
柳旭東副教授，澳门科技大学，中国澳门
Research Area: Media psychology, public opinion, social media
研究领域：媒介心理，公共舆论，社交媒体
Title：Woman Image Construction in Anime
标题：动漫中的女性形象建构
Abstract：This study, through content analysis and thematic analysis, investigates woman images in terms of occupation, dominance, apparel, and violence stereotype. It confirms that traditional stereotype stills exists in the anime, but the stereotype also demonstrates contradiction and alienation. Women are represented in the episodes of reality anime with dominant involvement in the stories; they are in most cases still wearing skirts, but the likelihood of wearing pants substantially increases in reality anime. Typically featured with violence-free and submissiveness characteristics, women are constructed to be aggressive and to have disposal power in surreal anime: they are more likely to take the role of warriors who generally represent a masculine occupation. The multiple construction of women image abides by the status quo but at the same time deviates from the stereotype. This multi-dimensional construction suggests that animation has a contradictory tendency in verifying social reality while predicting consciousness. The study attributes this stereotype rupture to the recurrence of textual contradictions: on the one hand, the text retreats from secular culture, together with the memory and expectation of positivist audiences and women's meanings; on the other hand, it attempts to challenge audiences through the construction of "anti-presence". The text thus deviates from the closed narrative and uses multiple texts to withstand the central duality of gender.
Prof. Mohd Fauzi bin Sedon @ M. Dom, Universiti Pendidikan Sultan Idris, Malaysia
Mohd Fauzi bin Sedon @ M. Dom教授，苏丹伊德里斯师范大学，马来西亚
Research Area: Fine Arts; Printing; Art; Visual Culture; Drawing; Sculpture
研究领域：精美艺术 ;印刷; 艺术; 视觉文化; 画画; 雕塑
Title：An Aesthetic Characterization of Plaster of Paris as a Water-Based Ink Medium for Screen Printing Application
标题：用丝网印刷水性油墨介质的巴黎石膏的美学表征
Abstract：This study investigates the potential of Plaster of Paris (POP) as an alternative medium for producing water-based screen printing ink. The project is based on the concept of aesthetic experimental through ‘jigsaw puzzle’ technique to explore different types of print characteristics for instance, consistency, workability, colour densities, and impression qualities. Evaluation measures including medium particle size using Field Emission Scanning Electron Microscopy (FE-SEM) testing, microstructural and chemical composition analysis using Scanning Electron Microscope-Energy Dispersive Spectrometer (SEM-EDS), and toxicity analysis using Inductively Coupled Plasma Optimal Emission Spectrometer (ICPOES). The results showed that the formulated medium has a unique property and provided opportunities in creating different types of luminosity and opacity effects. It also created unique print characteristics which capable to derive a huge aesthetic potential within the context of ideas development, concept and creativity specifically for artists and designers.
A.Prof. Wan Hsu-Ting, National Cheng Kung University, Taiwan, China
萬胥亭副教授，国立成功大学，中国台湾
Research Area: French contemporary theory and continental philosophy, aesthetics, criticism of art
研究领域：法国当代理论和大陆哲学，美学，艺术批评
Title：Confucius-Mencius’s original Confucianism as time-man and the time-paradox of the occidental modernity
标题：孔孟原始儒家作为「时间人」与西方现代性之「时间悖论」
Abstract：The philosopher Fang(方東美) said:” The Confucian is a time-man, or the Taoist is a space-man.” Why is the Confucian a time-man? Because Confucius-Mencius’s Confucianism as a doctrine of Ren(仁) is a humanist doctrine of becoming-virtuous and becoming-human, or the man is a temporal being. As the philosopher Tang(唐君毅) said:” Becoming-virtuous is necessarily a process of virtue-development in temporal order.” On the other side, Confucius-Mencius’s Confucianism was born in the melancholy-consciousness and the consciousness inheriting Tao-tradition (道統), emerging with the decline of the Zhou culture (周文) and the oblivion of Tao, or the melancholy-consciousness and the consciousness inheriting Tao-tradition are both a kind of time-consciousness facing to the crisis situation at their time.
Confucius-Mencius’ original wisdom of time touches the most profound Confucianist modernity. The occidental classic philosophy advocates the dualism of “being/becoming,” “noumenon/phenomenon,” and “eternity/time.” The modern philosophy attempts to rethink the being, the noumenon, the eternity from a perspective of time. Some of the examples include: Nietzsche’s “eternal retour,” Bergson’s “ontology of duration,” Husserl’s “phenomenology of internal time consciousness,” Heidegger’s “Being and Time,” Whitehead’s “Process and Reality.” Until Derrida and Deleuze represent two contemporary paradigms of the time-phenomenology: the language-consciousness paradigm and the life paradigm.
From Analects and Mencius, we will select the texts implying time-experience and time-consciousness, and do a phenomenological description and analysis. The purpose to reconstruct an image of the Confucianist time-man, to show how a Confucianist ethic man becomes virtuous and humane through time. We will apply the concept-frame and problem-consciousness following Deleuze’s interpretation on Kant’ “empty form of time” in order to show that the Confucianist time-man’s praxis of virtue and inheritance of Tao indicate ultimately a history-view of Renaissance
