英文[语文]作业.pptVIP

空间的文化模式 2 However, some cultural-linguistic systems developed in the opp- osite direction, that is, from an abstract and subjective vocabulary to a more concrete one. For example, Whorf tells us that in the Hopi la- nguage the word heart, a concrete term, can be shown to be a late formation from the abstract terms think or remember. Similarly, alth- ough it seems to Westerners, and especially to Americans, that obj-ective, tangible reality must precede any subjective or inner exper- ience, in fact many Asian and other non-European cultures view in- ner experience as the basis for ones perceptions of physical reality. Thus although Americans are taught to perceive and react to the arr- angement of objects in space and to think of space as being waste-d unless it is filled with objects, the Japanese are trained to give m-eaning to space itself and to value empty space. For example, in many of their arts such as painting, garden design, and floral arran-gements, the chief quality of composition is that essence of beauty the Japanese call shibumi. A painting that shows everything instead of leaving something unsaid is without shibumi. The Japanese artist will often represent the entire sky with one brush stroke or a distant mountain with one simple contour line-this is shibumi. To the West-ern eye, however, the large areas of empty space in such painting-s make them look incomplete. 全文翻译 然而，有些文化语言系统朝着相反的方向发展，就是从一套抽象、主观的词汇发展到一套更为具体的词汇。例如，沃尔夫告诉我们，在霍皮语中，“心”这个字，是一个具体的术语，可它是在先有了“思维”和“记忆”这种抽象术语之后才形成的。同样地，尽管在西方人，特别是美国人看来，客观的、有形的“实体”一定要先于主观的或者内在经验，但实际上，许多亚洲和非欧洲文化把内在经验看成是对有形的实体感觉的基础。因此，虽然美国人被教导在空间中感知物体的排列和做出反应，会认为除非空间中充满物体，否则就是“被浪费了”，而日本人却被训练为对空间本身赋予意义，对“空旷”的空间赋于价值。例如，在许多日本艺术中，像绘画、园林设计、插花艺术等，布局的主要特性是日本人称之为美的精髓的“素雅(shibumi)”。一幅画包罗万象，而不是留有空间，体现不出美的精髓。日本艺人常常画笔一刷，就呈现出一片天空；或者用一条简单的轮廓线条绘出远处的一座山峰。然而，在西方人的眼中，画中的大片“空旷”的空间使画显得还缺了点什么东西。 Western painting Western painting requires great sketch ability, often has full and rich decorative color, smooth lines, and the composition of t