Pub Date : 2022-10-02DOI: 10.1080/02666286.2022.2068310
Melissa L Gustin
Abstract Emma Stebbins’s untraced statue The Lotus-Eater (c.1857–60) purports to illustrate Alfred Tennyson’s poem of the same title, in turn derived from an episode in the Odyssey of Homer. This essay addresses the tension between Stebbins’s sculpture and Tennyson’s text. It brings to the discussion a body of antique visual and literary material to which Stebbins had access, images of and references to Antinous, the youthful and tragic lover of the Emperor Hadrian. Although the great flowering of Antinous scholarship and critique for queer men developed later in the nineteenth century, this study argues that the material was readily available for Stebbins, particularly through the writings of Johann Joachim Winckelmann and the objects in Rome, where she worked; later authors, such as John Addington Symonds, developed their commentary and fiction on Antinous from the same sources. The article brings together the thematic and visual resonances, references, and overlaps between the texts and images. It uses close attention to the formal qualities of the sculpture and the content of Tennyson’s poem to consider roads not taken, and how those options demonstrate the ambiguity in Stebbins’s finished sculpture: that is, its lack of clear moral or didactic content through its selection of the lotus-eater and Antinoan imagery, rather than a martial or moralizing figure from the poem. It demonstrates the complexity and subtlety of Stebbins’s selection of sources for her sculpture, and her rich, multivalent play between texts and images.
艾玛·斯特宾斯(Emma Stebbins)的《食莲者》(The Lotus-Eater，约1857 - 60年)的来历不明，据称是为了说明阿尔弗雷德·丁尼生(Alfred Tennyson)的同名诗歌，而这首诗又源于《荷马奥德赛》中的一段情节。这篇文章探讨了斯特宾斯的雕塑和丁尼生的文本之间的紧张关系。它带来了一个古老的视觉和文学材料的讨论，斯蒂宾斯可以访问，图像和参考安提乌斯，年轻而悲惨的哈德良皇帝的情人。尽管在19世纪晚期，antiinous的学术研究和对酷儿男性的批评才开始蓬勃发展，但这项研究认为，对于Stebbins来说，这些材料很容易获得，特别是通过Johann Joachim Winckelmann的著作和罗马的物品，她在那里工作;后来的作家，如约翰·艾丁顿·西蒙兹，从同样的来源发展了他们对安提诺斯的评论和小说。这篇文章汇集了主题和视觉上的共鸣、参考，以及文本和图像之间的重叠。它密切关注雕塑的形式品质和丁尼生诗歌的内容，以考虑未采取的道路，以及这些选择如何展示Stebbins完成的雕塑中的模糊性:也就是说，它缺乏明确的道德或说教内容，通过选择吃莲者和反宗教意象，而不是诗歌中的军事或道德人物。它展示了斯特宾斯为她的雕塑选择来源的复杂性和微妙性，以及她在文本和图像之间丰富多样的游戏。
{"title":"‘This Lotus Spell is Intenser’: sources and selections in Emma Stebbins’s The Lotus-Eater","authors":"Melissa L Gustin","doi":"10.1080/02666286.2022.2068310","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068310","url":null,"abstract":"Abstract Emma Stebbins’s untraced statue The Lotus-Eater (c.1857–60) purports to illustrate Alfred Tennyson’s poem of the same title, in turn derived from an episode in the Odyssey of Homer. This essay addresses the tension between Stebbins’s sculpture and Tennyson’s text. It brings to the discussion a body of antique visual and literary material to which Stebbins had access, images of and references to Antinous, the youthful and tragic lover of the Emperor Hadrian. Although the great flowering of Antinous scholarship and critique for queer men developed later in the nineteenth century, this study argues that the material was readily available for Stebbins, particularly through the writings of Johann Joachim Winckelmann and the objects in Rome, where she worked; later authors, such as John Addington Symonds, developed their commentary and fiction on Antinous from the same sources. The article brings together the thematic and visual resonances, references, and overlaps between the texts and images. It uses close attention to the formal qualities of the sculpture and the content of Tennyson’s poem to consider roads not taken, and how those options demonstrate the ambiguity in Stebbins’s finished sculpture: that is, its lack of clear moral or didactic content through its selection of the lotus-eater and Antinoan imagery, rather than a martial or moralizing figure from the poem. It demonstrates the complexity and subtlety of Stebbins’s selection of sources for her sculpture, and her rich, multivalent play between texts and images.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"19 1","pages":"478 - 498"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"74106805","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-10-02DOI: 10.1080/02666286.2022.2068121
Iva Ančić
Abstract This article interrogates the notion that comics that engage with history do so primarily within the scope of the archive. I argue, instead, that drawing and seeing/reading comics are embodied practices that generate meaning and memory in ways that exceed the discursive logic of the archive. Building on existing scholarship on embodied acts of memory within performance studies, I suggest that comics might better be seen in proximity to what Diana Taylor calls “the repertoire”: cultural memory embodied in live gestures, rather than deposited in language. Seen through the lens of the repertoire, a comic such as Joe Sacco’s The Fixer (2003) offers new ways to make visible and legible the histories that have been left outside the official archives. By opening up for analysis the body, its staging, and its gestures on the page, the lens of the repertoire makes good use of what archival memory dismisses as the site of traumatic aporia: the unreliable testimony of the perpetrator. Rather than dismissing such material, the methodology of the repertoire transforms it into a repository of cultural meanings, which provide an insight into the collective fantasies and imaginaries on which the nationalist archive tends to stay silent.
{"title":"Put yourself in his shoes: embodying the archive in Joe Sacco’s The Fixer","authors":"Iva Ančić","doi":"10.1080/02666286.2022.2068121","DOIUrl":"https://doi.org/10.1080/02666286.2022.2068121","url":null,"abstract":"Abstract This article interrogates the notion that comics that engage with history do so primarily within the scope of the archive. I argue, instead, that drawing and seeing/reading comics are embodied practices that generate meaning and memory in ways that exceed the discursive logic of the archive. Building on existing scholarship on embodied acts of memory within performance studies, I suggest that comics might better be seen in proximity to what Diana Taylor calls “the repertoire”: cultural memory embodied in live gestures, rather than deposited in language. Seen through the lens of the repertoire, a comic such as Joe Sacco’s The Fixer (2003) offers new ways to make visible and legible the histories that have been left outside the official archives. By opening up for analysis the body, its staging, and its gestures on the page, the lens of the repertoire makes good use of what archival memory dismisses as the site of traumatic aporia: the unreliable testimony of the perpetrator. Rather than dismissing such material, the methodology of the repertoire transforms it into a repository of cultural meanings, which provide an insight into the collective fantasies and imaginaries on which the nationalist archive tends to stay silent.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"76 1","pages":"464 - 477"},"PeriodicalIF":0.3,"publicationDate":"2022-10-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83308761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1934371
J. Greenhill
Abstract Can a writer be considered a visual humorist? If words are the writer’s primary material, can they be bent into caricatural or grotesque formations? Through what filters must words be processed or mediated for comic pictures to emerge? This article seeks to answer these questions by focusing on an understudied short story that Mark Twain wrote in Florence, Italy: “Italian Without a Master,” published in Harper’s Weekly in 1904. The story offers a wild ride through the Italian language from the perspective of an English-speaking narrator who espouses “undictionarial” methods of translating the words he finds in the daily newspaper. To encourage readers to look at words with fresh eyes, Twain supplied, as his illustrations, clippings cut from the Italian papers. With these word-filled illustrations, Twain tests an expanded and experimental visuality, I argue, while also reimagining the terms of visual caricature. The story thus announces the capaciousness and elasticity of the writer’s comic vision, demonstrating his mastery over multiple domains. At the same time, however, the story also criticizes the impulse to expand into new territory by subtly gesturing to the geopolitics of imperialist “mastery,” which Twain railed against repeatedly at the turn of the century.
{"title":"Mark Twain’s undictionarial Italian: the politics and visual humor of mistranslating newspaper scraps, c.1900","authors":"J. Greenhill","doi":"10.1080/02666286.2021.1934371","DOIUrl":"https://doi.org/10.1080/02666286.2021.1934371","url":null,"abstract":"Abstract Can a writer be considered a visual humorist? If words are the writer’s primary material, can they be bent into caricatural or grotesque formations? Through what filters must words be processed or mediated for comic pictures to emerge? This article seeks to answer these questions by focusing on an understudied short story that Mark Twain wrote in Florence, Italy: “Italian Without a Master,” published in Harper’s Weekly in 1904. The story offers a wild ride through the Italian language from the perspective of an English-speaking narrator who espouses “undictionarial” methods of translating the words he finds in the daily newspaper. To encourage readers to look at words with fresh eyes, Twain supplied, as his illustrations, clippings cut from the Italian papers. With these word-filled illustrations, Twain tests an expanded and experimental visuality, I argue, while also reimagining the terms of visual caricature. The story thus announces the capaciousness and elasticity of the writer’s comic vision, demonstrating his mastery over multiple domains. At the same time, however, the story also criticizes the impulse to expand into new territory by subtly gesturing to the geopolitics of imperialist “mastery,” which Twain railed against repeatedly at the turn of the century.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"50 1","pages":"165 - 189"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76497327","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1988481
Christopher Smith
Abstract Bakemonogatari (Monster Story) is a 2009 television anime (Japanese animation) produced by Studio Shaft and directed by Shinbō Akiyuki. To the plot and clever dialogue of the novels on which the show is based, the anime adds several striking filmic elements which create an entirely new layer of expression. Most notable among these elements is the profuse and reflexive use of text on the screen. The series is nearly overflowing with text, much of it highly conspicuous and disruptive, taunting the viewer with the promise of hidden meaning. Rather than attempt to decode this text, however, this article argues that the use of text to disrupt and infiltrate the narrative world engenders certain notable effects. For one, it creates a Brechtian alienation effect and reflexively calls attention to the construction of the anime. Most importantly, however, the use of text foregrounds intertextuality as a major theme; not only is Bakamonogatari itself intertextual, but also the anime attempts to show that everything from interior thought to sexual desire is ultimately intertextual in nature, linked through text to specifically historicized social constructs. Alienating text pervades everything, and therefore mediates everything, leaving nothing authentic or unique to the self.
{"title":"The text inside us: text on screen and the intertexual self in Bakemonogatari","authors":"Christopher Smith","doi":"10.1080/02666286.2021.1988481","DOIUrl":"https://doi.org/10.1080/02666286.2021.1988481","url":null,"abstract":"Abstract Bakemonogatari (Monster Story) is a 2009 television anime (Japanese animation) produced by Studio Shaft and directed by Shinbō Akiyuki. To the plot and clever dialogue of the novels on which the show is based, the anime adds several striking filmic elements which create an entirely new layer of expression. Most notable among these elements is the profuse and reflexive use of text on the screen. The series is nearly overflowing with text, much of it highly conspicuous and disruptive, taunting the viewer with the promise of hidden meaning. Rather than attempt to decode this text, however, this article argues that the use of text to disrupt and infiltrate the narrative world engenders certain notable effects. For one, it creates a Brechtian alienation effect and reflexively calls attention to the construction of the anime. Most importantly, however, the use of text foregrounds intertextuality as a major theme; not only is Bakamonogatari itself intertextual, but also the anime attempts to show that everything from interior thought to sexual desire is ultimately intertextual in nature, linked through text to specifically historicized social constructs. Alienating text pervades everything, and therefore mediates everything, leaving nothing authentic or unique to the self.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"9 1","pages":"254 - 264"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86515368","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.2006525
G. Byng
Abstract At the turn of the fifteenth century, architectural ethics acquired renewed prominence in England. A long-established discourse that had been developed by major figures in Europe’s intellectual history, and that threatened to reject all but the most utilitarian church-building projects, was given new energy, as well as a new English vocabulary and a newly extensive application, in heretical tracts and poems. At the same time, the poet most associated with the Lancastrian court, John Lydgate, was translating a lavish paean to ingenious and luxurious craftsmanship, while his patron’s circle was engaged in a wave of lavish building projects in cathedrals, universities, and parish churches—and, indeed, was prosecuting Lollards for their criticism of the same. Most remarkable, however, is that, having been scrupulously suppressed in the 1410s, a concern for restrained architecture would re-emerge twenty years later as a widely shared architectural ideology among England’s elite, including the king, Henry VI. For thirty years, it would come to shape a series of significant building projects. This article argues that this change must be understood as representing the reconstitution of a number of ideas and claims, necessitated by the dissolution of the interdependent antagonisms of the 1410s, in the context of newly influential spiritual, ethical, and sensory discourses.
{"title":"Lydgate and the Lanterne: discourse, heresy and the ethics of architecture in early fifteenth-century England","authors":"G. Byng","doi":"10.1080/02666286.2021.2006525","DOIUrl":"https://doi.org/10.1080/02666286.2021.2006525","url":null,"abstract":"Abstract At the turn of the fifteenth century, architectural ethics acquired renewed prominence in England. A long-established discourse that had been developed by major figures in Europe’s intellectual history, and that threatened to reject all but the most utilitarian church-building projects, was given new energy, as well as a new English vocabulary and a newly extensive application, in heretical tracts and poems. At the same time, the poet most associated with the Lancastrian court, John Lydgate, was translating a lavish paean to ingenious and luxurious craftsmanship, while his patron’s circle was engaged in a wave of lavish building projects in cathedrals, universities, and parish churches—and, indeed, was prosecuting Lollards for their criticism of the same. Most remarkable, however, is that, having been scrupulously suppressed in the 1410s, a concern for restrained architecture would re-emerge twenty years later as a widely shared architectural ideology among England’s elite, including the king, Henry VI. For thirty years, it would come to shape a series of significant building projects. This article argues that this change must be understood as representing the reconstitution of a number of ideas and claims, necessitated by the dissolution of the interdependent antagonisms of the 1410s, in the context of newly influential spiritual, ethical, and sensory discourses.","PeriodicalId":44046,"journal":{"name":"WORD & IMAGE","volume":"68 1 1","pages":"296 - 311"},"PeriodicalIF":0.3,"publicationDate":"2022-07-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87293501","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"社会学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1958289
Catherine R. Dicesare
Abstract This study attends to the historical dimensions of the Mexica (or “Aztec”) festival known as the New Fire Ceremony, a ritual that took place every fifty-two years in pre-Columbian central Mexico. The New Fire Ceremony is most often discussed in terms of cosmic renewal and calendrical cycles. This article seeks to situate its cyclically recurring rites within the web of Mexican history, as represented in early colonial Mexican historical sources, both pictorial and textual. Specifically, it looks to historical genres to examine the cultural memory of the location chosen for the final New Fire Ceremony of 1507, considering the ways in which the Mexica yoked ancient rituals of renewal to contemporary political concerns. That territory had been the site of Mexica military defeat and subjugation during their earlier migration period. Celebrating the New Fire Ceremony here centuries later, at the height of their power, may have functioned as a reversal of that early humiliation. Thus, the Mexica king, as agent of the sun god, embarked on a pilgrimage back through time and space to affirm their contemporary political dominion.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1990730
I. Massé
Abstract Le présent article expose comment les discours sur l’art de la deuxième moitié du XVIIIe siècle édifièrent une conception canonique du pastel. Offrant un cadre conceptuel qui historicise la notion de spécificité des médiums, il détaille les propriétés que les écrits techniques, critiques et encyclopédiques attribuèrent au pastel autour des années 1750–1790. À la fois exploration méthodologique et investigation historique, cette étude propose que la spécificité des médiums conserve une pertinence méthodologique si elle est envisagée sous un angle métaontologique et elle montre comment les qualités particulières conférées au pastel étaient historiquement contingentes. Elle suggère que, par une connexion récurrente aux théories coloristes, le pastel était autrefois pensé comme un médium du portrait moderne et que sa spécificité reposait sur des présupposés teintés par les idéaux artistiques du XVIIIe siècle.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.2007706
Diana Hiller
Abstract After the Early Christian period, the practice of depicting Christ’s chest stigma on the right-hand side of his upper torso was an established component of stigmata iconography. Thereafter, this tradition was consistently followed in painted images of stigmatic saints—most notably in representations of St Francis of Assisi. St Catherine of Siena (1357–80) also bore the stigmata, and when her chest stigma was included in her portraits the conventional pictorial tradition continued and artists placed the wound on the right side of her chest. Plautilla Nelli (1524–88), a Dominican prioress and painter in Florence, however, introduced a new iconography. Contrary to all visual precedents, she painted several small works depicting Catherine with a bloody chest stigma on her left-hand side. The suggestion offered here is that Nelli’s unorthodox and original iconography was indebted not to the visual tradition but to two near-contemporary textual sources for Catherine’s stigmatization. Raymond of Capua’s Legenda maior and Thommaso Caffarini’s Libellus de supplemento report Catherine’s own account of her imprinting in which she testifies that the ray to her chest came to her left side, the side of her heart.
在早期基督教时期之后，在基督上半身的右侧描绘基督的胸部耻辱的做法是一个确定的耻辱肖像的组成部分。此后，这一传统一直被遵循在污名圣人的绘画图像中-最著名的是阿西西的圣弗朗西斯的代表。锡耶纳的圣凯瑟琳(St Catherine of Siena, 1357 - 1380)身上也有这个污名，当她的胸部污名出现在她的肖像中时，传统的绘画传统仍在继续，艺术家们把伤口放在她胸部的右侧。然而，佛罗伦萨的多米尼加女修道院院长兼画家普劳蒂亚·内利(1524-88)引入了一种新的肖像学。与所有视觉先例相反，她画了几幅小作品，描绘了左手边有一个血腥的胸部耻辱的凯瑟琳。这里提出的建议是，内利的非正统和原始的图像不是感谢视觉传统，而是感谢两个近当代的文本来源，凯瑟琳的耻辱。卡普阿的雷蒙德的《传奇》和托马索·卡法里尼的《补充之路》都报道了凯瑟琳自己对她的印记的描述，她作证说，她胸部的光线来自她的左侧，心脏的一侧。
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.1983712
Aleksander Sedzielarz
Abstract One of South America’s most popular poets, Alfonsina Storni is primarily known for verses of love and passion. During her lifetime, Storni also wrote as a newspaper columnist under the pseudonym Tao Lao. Storni’s association with film has primarily been discussed as part of her friendship with author and cinephile Horacio Quiroga but translations and analyses of Storni’s film-poems, mainly composed in the last decade of her life, show that she was experimenting in a fusion of verse and cinema. Drawing on the proliferation of consumer products bringing film and photography into everyday life in Argentina in the 1920s and 1930s, Storni’s film-poems blend word and image through the photochemical properties of the film medium and the spatial and temporal techniques of motion pictures. While Storni’s biographers have classified some film-poems as falling within the reportage genre of the chronicle (crónica), these multimedia experiments work problems of subjectivity and objectivity intrinsic to the time-based approach of the chronicle through filmic technologies, while also interrogating constructs of gender and colonial power that were deeply embedded in the visual culture of South America in the 1920s and 1930s.
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Pub Date : 2022-07-03DOI: 10.1080/02666286.2021.2002128
Elissa Watters
Abstract In 1912, Wassily Kandinsky (Russian, 1866–1944) published a limited edition of Sounds (Klänge), an illustrated book of poems that applied many of the theories discussed in his publication On the Spiritual in Art (Über das Geistige in der Kunst, 1911). In Sounds, Kandinsky strove to train readers to sensorially perceive images hidden in visual and verbal abstraction. In both word and image, the artist explored various realizations of boundedness, repetition, and concealment with the aim of evoking various effects in readers. Ultimately, according to Kandinsky’s theories, the fluidity between the “seeable” and “unseeable” allowed the “inner sounds” of the book’s words and woodcuts to resonate with readers in moments of perceptual clarity. Published on the brink of World War I, Sounds was released into a world that was about to change drastically. Although it influenced numerous avant-garde artists in the inter- and postwar periods, a newfound pessimism overshadowed Kandinsky’s idealistic aspiration. His utopian belief that abstraction would facilitate the arrival of a “Great Spiritual Epoch” ceded to a view of abstract art as a means of expressing the irrationality and brokenness of things. Today, Sounds is significant because of its influential form and content, its novel multisensorial aims, and its liminal sociohistorical context.
1912年，瓦西里·康定斯基(俄国人，1866-1944)出版了限量版的《声音》(Klänge)，这是一本配有插图的诗集，其中应用了他在《论艺术中的精神》(Über das Geistige In der Kunst, 1911)一书中讨论的许多理论。在《声音》中，康定斯基努力训练读者从感官上感知隐藏在视觉和语言抽象中的图像。在文字和图像上，艺术家探索了有边界、重复和隐藏的各种实现方式，目的是唤起读者的各种效果。最终，根据康定斯基的理论，“可见”和“不可见”之间的流动性使得书中的文字和木刻的“内在声音”在感知清晰的时刻与读者产生共鸣。《声音》出版于第一次世界大战的边缘，在一个即将发生巨变的世界中发行。虽然康定斯基的作品影响了战后和战后时期的许多先锋派艺术家，但一种新的悲观主义遮蔽了康定斯基的理想主义抱负。他的乌托邦式的信念，抽象将促进“伟大的精神时代”的到来，让位于抽象艺术作为一种表达事物的非理性和破碎的手段。今天，《声音》之所以重要，是因为它具有影响力的形式和内容，它新颖的多感官目标，以及它有限的社会历史背景。
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