The Dilemma of Virtual Reality and Cinematic Realism
- Exploring the Relationship Between Virtual Reality and Cinematic Realism
- Reassessing Illusionism and Enunciative Dimension in Virtual Reality
- How Virtual Reality Redefines the Concept of Reality
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英語と映画研究に詳しい方、お願いします！
下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 どなたかよろしくお願いします。 This dilemma of the virtual not being definable in opposition to realism has given rise to two different responses : one school of thought has turned to a reassessment of illusionism as an aesthetic value in its own right, while others have pointed to the enunciative dimension of the "index", and thus to make indexilality an aspect of enunciation and deixis. Both these contexts break, at the conceptual level, with our traditional definitions of cinematic realism, because "reality" in virtual reality is no longer understood as index, trace and reference of an elsewhere, but as a total environment: it thus is a function of a coherence theory, rather than a correspondence theory.
- mikael48
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「概要」 を書くほどの背景知識がないので、ほぼ直訳にしてみます。 > This dilemma of the virtual not being definable in opposition to realism has given rise to two different responses: リアリズムの対極として定義されないヴァーチャルというものの持つこの矛盾が、２つの異なる反応を引き起こした。 > one school of thought has turned to a reassessment of illusionism as an aesthetic value in its own right, while others have pointed to the enunciative dimension of the "index", and thus to make indexilality an aspect of enunciation and deixis. ある学派はイルージョニズム (幻想説) をそれ自体が美的な価値を持つものとして再評価する方向に向かったが、他の学派は 「指標」 のもつ明瞭さという側面に目を向け、指標主義を明瞭で直接的な表現であるとする見方に傾いた。 > Both these contexts break, at the conceptual level, with our traditional definitions of cinematic realism, because "reality" in virtual reality is no longer understood as index, trace and reference of an elsewhere, but as a total environment: これらの見方はどちらも、概念のレベルで、映画におけるリアリズムに関する伝統的な定義から外れている。なぜなら、ヴァーチャル・リアリティ (仮想現実) における 「リアリティ」 とはもはや指標、痕跡、外延としてはとらえられておらず、統合された環境として見られているからだ。 > it thus is a function of a coherence theory, rather than a correspondence theory. ということは、それは対応理論であるよりも、むしろ整合説の機能なのだ。
関連するQ&A
- 英語と映画研究に詳しい方、お願いします！
英語と映画研究に詳しい方、お願いします！急ぎで困ってます！ 下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 どなたかよろしくお願いします。 While there seems a great deal of emphasis on the "immersive", tactile and "haptic" properties of virtual reality, i.e. the body-based nature of the experience, the bodily sensations are distinct from pictorial illusionism, just as visualization in this sense refers to the use of images or pictorial signs as a symbolic language, in order to render visible a set of abstract data or processes: what we "see " is information translated into a (conventionalized) language of vision, not something that is in any sense really "out there". It is as if several different perceptual and cognitive systems were deployed together, to render the "effect" of virtual reality. Instead of making up one continuous "field", these reality effects are a composite, which in its amalgamated and fused discontinuity either leaves one cold and distanced or sucks one into a fascinated self-oblivion and immersive self-presence.
- 締切済み
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- 英語と映画研究に詳しい方、お願いします！
英語と映画研究に詳しい方、お願いします！急ぎで困ってます！ 下にあるのは大学の購読で、使う資料の一部です。自分の英語ではぜんぜん理解するどころか、訳せもしません。情けないですが、どなたか、これに書かれている概要を教えていただけないでしょうか。 英語の力がなくても書かれている内容がすごく気になります。 めっちゃめちゃ長くてすみません！ 仮想現実と空想の現実らへんの重要そうなとこだけでもいいので教えてください・・・ どなたかよろしくお願いします。 Thus "virtual reality" can also refer us back to familiar terrain for which a precedent can be found in the history of film theory. Virtual reality, made possible by particular technologies of simulation, involves the spectator's presence, and to this extent, it is comparable to the imaginary reality that a spectator attributes to any fiction or narrative, to whose representations(be they verbal, visual or acoustic) the mind grants reality status. We can usefully refer back to "diegesis" here: just as narratives establish their diegetic space by allowing the viewer to give a consistent reading to a film's markers of temporal continuity and spatial contiguity(despite "actual" discontinuity and non-contiguity), virtual realities-especially in their most frequent applications,i.e. in game environments-establish diegetic coherence by a set of rules and conventions, one of which is that the body of the participant or player is fully co-opted into the diegetic space, while nonetheless knowing the s/he also exists in extra-diegetic space, whether it is a bedroom or a video-arcade. Alexander Galloway has concluded that it is "difficult to demarcate the difference between diegetic and non-diegetic acts in a video game, for the process of good game continuity is to fuse these acts together as seamlessly as possible" The body of the operator, the control of the game and the action on-screen fuse to create an imaginary reality that connect the machine and the human. Virtual reality thus appeals even more directly to the body and the senses, but not in any simple or atraightforwardly "physical"way:contact(whether by eye or hand or both) is mediated, translated, relayed. Likewise, the game space is modeled as a 3-D environment in the computer, so that the actual view on the screen is being generated from this model, rather than drawn from a set of pre-existing inside the computer as a computational reality created by earlier techniques.
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以下の英文を訳していただけないでしょうか。節としてはある程度訳せるのですが、つなぎ合わせると日本語にならなくなってしまうんです(;_;) In order to make the analogy hold even slightly and in a somewhat attenuated form, one has to conceive of the worker's motivation as being exceedingly simple. The worker has to be viewedas being primarily interested in the pursuit of pleasure and economic gain and as pursuing these ends in an essentially logical manner. 日本人なのに日本語の表現力が乏しくて悲しいです どうかよろしくお願いいたします。
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下記の英文の翻訳に悩んでいます 私が悩んでいるのは２段落目の1736,のあとのthusからなのですが上手く訳せる方はいらっしゃるでしょうか？ ちなみに最初のほうは私が訳してほしいところと関連を図るためにあえて載せただけなので訳は大丈夫です 私の訳はこうです 有名なスイス人の数学者レオンハルト・オイラーは、1736年にグラフ理論のために基礎を作りグラフ理論の父親として彼のタイトルを得て、パズルを解決しました Graph theory, a fascinating branch of mathematics, has numerous applications to such diverse areas as computer science, engineering, linguistics, and management science, as well as the natural and social sciences. Like many important discoveries, graph theory grew out of an interesting physical problem, the celebrated Konigsberg Bridge Puzzle. The outstanding Swiss mathematician Leonhard Euler solved the puzzle in 1736, thus laying the foundation for graph theory and earning his title as the father of graph theory.
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' Accrding to thsi explanation , the first chapter og Genesis does not pretend (as has been generally assumed) to be a cosmogony or an account of the original creation of the material universe. The only cosmogony which it contains,in that sense at least, is confined to be sublime decraration of the first verse, "In the begnning God created the heavens and the earth." The inspired record ,thus stepping over an interval of indefinite ages with which man has no direct concern, proceeds at once to narrate the events preparatory to the introduction of man on the scean; employing phraseology strictly faithful to the appearances(斜字) which would have met the eye of man, could he have been a spectator on the earth of whta passed during those six days. Allthis has been commonly supposed to be more detailed account of the general truth announced in the five verse, in short, a cosmogony: such was the idea of Josephus[37-100]; such probably was the idea of our translators;for their version "without form and void," points to the primeval chaos, out of which all things were then supposed to emerge; and these words, standing in limine, have tended, perhaps more than anything else, to foster the idea of a cosmogony in the minds of general readers to this very day.'
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自分で訳したものの、すっきり読めないので、訳出願います。 よろしくお願いします。 ’UNDERSTANDING REALITY TELEVISION’の一部です。 As we embark upon a new century of broadcasting, It is clear that no genre form or type of programing has been as actively marketed by producers, or more enthusiastically embraced by viewers, than reality-based TV. This quote seems a pertinent way in which to open a book that seeks to 'understand Reality TV'. It emphasizes how the formats, images, and convention of Reality TV have stitched themselves into the very fabric of television, its economic structures, schedules and viewing cultures. Reality TV has rapidly come to occupy a place at the forefront of contemporary television culture – a position from which it seems to 'speak' particular clearly to the ways in which broadcasters are seeking to attract audiences in the multichannel landscape, the ways in which television is harnessing its aesthetic and cultural power and, as an increasingly multimedia experience, the ways in which it resonates so extensively in the cultural sphere. This collection seeks to respond to the complex, contested and often controversial terrain of 'popular factual programming' (CORNER,2001) with the broad aim of considering its economic, aesthetic, political and cultural implications for understanding contemporary 'television' as an object of study. It is certainly the case that this terrain continued to evolve, shift and change in the process of producing this collection, which thus offers an investigation of the field at a particular point in time (television’s rhetoric of the perpetual present of course always renders stopping the 'flow' an impossibility). At the same time, however, this book also seeks to contribute to the longer-term project of understanding and studying what CORNER has described as television's 'greatly expanded range of popular images of the real'.
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The stage theory of dying was developed by psychiatrist Elizabeth Kubler-Ross from interviews with a large number of terminally ill persons. However, her methods of collecting and interpreting the data have been questioned, and she has been criticized for failing to consider such demographic variables as nature or the disease, sex of the patient, race, developmental level, and cognitive style (Kastenbaum, 1975). Thus, the usefulness and generality of the theory are questionable. However, her research has forced others to be concerned, with the psychology of dying. お願いします。
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経済英語の和訳を冷やかし無しでお願いします・・。 Before developing these propositions, the term industrial enterprise needs to be defined. Used in a broad sense, it means bere a large private, profit-oriented business firm involved in the handling of goods in some or all of the successive industrial processes from the procurement of the raw material to the sale to the ultimate customer. Transportation enterprises, utilities, or purely financial companies are not then included in this study, while those firms concerned with marketing and with the extraction of raw materials as well as those dealing with processing or manufacturing do fall within this definition. An industrilal enterprise is thus a subspecies of what Werner Sombart has described as the capitalistic enterprise, which as "an independent economic organism is created over and above the individuals who constitute it. This entity appears then as the agent in each of these transactions and leads, as it were, a life of its own, which often exceeds in length that of its human members."
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いつもこちらでお世話になります。 翻訳をよろしくお願いします。 He has slender muscular legs of good shape, though the veins are enlarged like knotted cords and visible here and there in the lightness or thinness of the skin. The body has an engorgement of the veins and a stiffness and fullness throughout the frame The body has the right covering of muscle and flesh to make it solid but not bloated. His skin takes on pressure sores easily becoming red where he leans on it, or where two surfaces rest together, indurations from pressure, the tips of the elbows for example.. His skin is warm and dry and he likes to be in a cool room. Likes to be uncovered in bed at night and to remove excess clothing in a warm room, but his posture is a cold one, He is sensitive to cold always feeling chilly, even though he may be warm to the touch creeps around in a stopping huddled way, limbs tight to the body, arms sometimes hugging themselves.
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The aim of the physicianin the treatment of insanity is to bring the means at his command to bear, directly or indirectly , on the disordered nerve elemnt. But, in striving to do this, he soon learns with how many bodily organs and functionshe has really to do. to callmind a function of the brain may lead to much misapprehension, if it be thereby supposed that the brain is the only organ which is concerned in the function of mind. There is not an organ in the body which is not in intimate relation with the brain by means of its paths of nervous communication, which has not , so to speak, a special corresopondance with it through internuncial fibres, and which does not, therefore, affect more or less plainly and specially its[ist=the brain's] function as an organ of mind. It is not merely that a parpitating heart may cause anxiety and apprehension, or a disorderedliver[may cause] gloomy feelings, but there are good reasons to believe that eachorgan has its specific influence on the constituiton and function of mind; an influence not yet to be set forth scientifically., because it is exerted on that unconscious mental life which is the basis of all that we consciously feel and think. were the heart of one man to be placed in the body of another it would probably make no difference in the circulation of the blood, but it might make a real difference in the temper of his mind. so close is the physiological sympathy of parts in the commonwealth of the body that it is necessary in the physiological study of mind to regard it as a function of the whole organism, as complehending the whole bodily life.
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こんなに早くありがとうございます！ やっと輪郭つかんできました。 真理対応説と整合説まで訳していただけるなんてほんとに助かりました！ あつがましくてすみません もうひとつ続きの文章があるんですがbakanskyさんに見てもらえますか？！ すみませんが時間あればよろしくお願いします！！ 一応今同じタイトルで質問また投稿したのですが、、、 とりあえず、ありがとうございました！ ほんとに助かりました！