Stroll meaning的問題，透過圖書和論文來找解法和答案更準確安心。 我們找到下列包括價格和評價等資訊懶人包

Powers of Pilgrimage: Religion in a World of Movement

為了解決Stroll meaning的問題，作者Coleman, Simon 這樣論述：

A groundbreaking reframing of religious pilgrimagePious processions. Sites of miraculous healing. Journeys to far-away sacred places. These are what are usually called to mind when we think of religious pilgrimage. Yet while pilgrimage can include journeying to the heart of sacred shrines, it can

also occur in apparently mundane places. Indeed, not everyone has the resources or mobility to take part in religiously inspired movement to foreign lands, and some find meaning in religious movement closer to home and outside of officially sanctioned practices. Powers of Pilgrimage argues that we

must question the universality of Western assumptions of what religion is and where it should be located, including the notion that ＂genuine＂ pilgrimage needs to be associated with discrete, formally recognized forms of religiosity. This necessary volume makes the case for expanding our gaze to reco

nsider the salience, scope, and scale of contemporary forms of pilgrimage and pilgrimage-related activity. It shows that we need to reflect on how pilgrimage sites, journeys, rituals, stories, and metaphors are entangled with each other and with wider aspects of people’s lives, ranging from an actio

n as trivial as a stroll down the street to the magnitude of forced migration to another country or continent. Offering a new theoretical lexicon and framework for exploring human pilgrimage, Powers of Pilgrimage presents a broad overview of how we can understand pilgrimage activity and proposes tha

t it should be understood not solely as going to, staying at, and leaving a sacred place, but also as occurring in ordinary times, places, and practices.

Stroll meaning進入發燒排行的影片

生命對話–梅文琴繪畫創作自述

為了解決Stroll meaning的問題，作者梅文琴 這樣論述：

以「生命對話」為主題，探討個人在抽象繪畫的創作過程中，藉由生活中擷取的靈感，進而體認媒材實驗、繪畫應用的技法、抽象符號的詮釋與圖像主題等。經由抽象形式的轉化和個人內在的剖析，由繁入簡的創作表現、理念說明分析，做完整的探討及反思。 繪畫是起而行，而創作的靈感是依附生活及生命體驗的累積，運用藝術理論的心得、視覺美感的培養、以及對事物的觀察能力。無論是創作上的論述或是形式，都提升了心性，寫下了體現生命剎那的記録，直覺性的繪出人生印記。透過創作領悟生命的既往回溯，又在悠遊歷史歲月中，朝向未來步跡中邁進。 本創作論述分為五章：第一章緒論，著重創作動機、研究目的、名詞釋義。第二章創作

理念，初心、自由心靈、具象到抽象。第三章材料語彙說明，包括造型元素、媒材與技法、抽象符號象徵意涵之運用，將內在情感、創作歷程及發展逐一說明。第四章闡述作品《隱晦系列》、《心向漫境》、《色彩跳舞系列》、《虛寒 = 黑白對立》、《肌理質感系列》。第五章結論，包括個人感知、美感心境、主觀符號及心象的表達融合。

Poems for the Body Temple

為了解決Stroll meaning的問題，作者Hugueney, Luciana J. 這樣論述：

In this new collection of poems, the author of Poems for the Soul continues her journey of self-exploration through the healing world of poetry. Enjoy the ride as the author, poem by poem, dives deeper in search of greater meaning and inner peace.KIRKUS REVIEWHugueney (Poems for the Soul, 2016) o

ffers an elegantly crafted "journey of self-exploration through poetry."In a recent issue of The New Yorker, Ruth Franklin wrote about the persistent popularity of poet Mary Oliver, arguing that Oliver's strength is her "accessibility: she writes blank verse in a conversational style, with no typogr

aphical gimmicks." Reading this description, it's easy to see why Hugueney calls Oliver "beloved," because the younger poet's verse can be described in very similar terms. Here, she writes about the elder writer's influence: "I do not have woods to stroll through, as beloved / poet Mary Oliver, but

there are patches of green where I live / and the smell of wet earth, chirping birds, / and a gentle breeze to lose (or is it find?) myself in." This is Hugueney at her best--unpretentious, honest, limpid. This is her second volume, and it shows her rounding into form as a writer. Although she tackl

es a variety of topics in this effort, two stand out: the challenge of raising an autistic child and the struggle against a low-grade sorrow that she calls "the fog." Hugueney has two kids, and the youngest is autistic. She writes, "Autism takes its toll. / Only the strong will be given this challen

ge. / So many years of feeding, sweeping, swiping, / washing, brushing. / It's worse when I'm alone with my son. / No one to laugh with, to share with." Sometimes, that toll seems too heavy to bear; this, it appears, is when the fog rolls in: "As I swipe the elegant marble counter / with my soggy, f

aded washcloth, / I suddenly feel the fog creeping in again." One hears the creep of depression in lines like these, but it's heartening to read an author who's willing to write so openly about the real emotional challenges of parenthood. Further, the collection's journey ends with hope for the spea

ker and for her family. A late poem reads, "I am on the right path. / Angels are lighting my way right now. / I just have to keep hold of my compass. / A new beginning is always possible." After finishing this book, one can't help but wish the author well as she continues on her own path.Affliction

resolves into hope and light in this cathartic collection.

當代混媒體藝術的感知間距：以白南準的自然觀及其影響為例

為了解決Stroll meaning的問題，作者李寅彰 這樣論述：

本論文以韓裔美籍藝術家白南準（Nam June Paik, 1932-2006）的藝術實踐為例，深究當代混媒體藝術的自然觀及其感知間距，並提出文化間距的對應關係。本研究以藝術作品本位的觀點作為方法，在論述上以法國漢學家弗朗索瓦‧朱利安（François Jullien, 1951-）提出的「間距」為概念，並以白南準的藝術實踐為脈絡，探討其自然觀。本研究分為三個部分。第一部份，分別從「福魯克薩斯的跨媒體實踐」、白南準的「跨媒體實踐觀」、「媒體論」及「混媒體」四個面向歸納當代混媒體藝術的感知間距。第二部份則以白南準的相關作品為對話，透過「混媒體的非人類處境」、「生態裝置」、「跨物種的網絡」及「混

搭侵越的感知狀態」論身體到媒介的感知間距。第三部份則擴張白南準的媒介觀，分別以「凝聚環境的感知網絡」、「環境變化的自然適應」、「非自然的態勢」及「媒介環境的生態顯影」等面向，提出由媒介到環境的文化間距。本論文之研究內容，第一章闡述了本研究的問題與定位，提出研究之範圍，並整理出流程與方法論架構。第二章以白南準創作的媒體藝術為研究主軸，從中探討其自然觀與混媒體藝術的思考徑路。第三章透過當代混媒體藝術的作品，探討生態組裝、跨物種網絡以及混搭侵越狀態的感知間距。第四章探討由感知間距生成的文化間距，論及從環境感應到文化間距的衍伸探討。第五章建立混媒體藝術與感知間距的探討，論證白南準自然觀對當代作品的影響

性與自適性，由此主張「適然論」作為混媒體藝術生態的媒介觀。關鍵字：當代混媒體藝術、白南準的自然觀、感知間距、文化間距、適然論