长歌当哭，寓悲于闲——晚唐送人赴任诗情感探微

送人赴任之作,在唐代别离诗中占有相当大比例.盛唐人的这类诗歌,往往忽略了别离之伤情.反之,晚唐却固囿于这一伤情,并将此进一步深化,深化的结果,就是诗歌中闲情的泛滥.这不是偶然的,而是晚唐文人大范围接受佛道思想的必然结果.     

Coping and Helping to Cope: Perspectives of Children of Palestinian Political Detainees

This qualitative study investigates how children of Palestinian political detainees in Israeli detention cope with their fathers' absences. Researchers conducted 16 semi‐structured interviews with children, mostly aged 15 and older in the West Bank. Three themes are discussed that emerged from the interview data: how children cope with their sadness; the children's perspectives on community support; and older children's support to siblings and parents. Practitioners can support children by providing counselling to mothers and organising interventions, which give children the opportunity to connect. It is important that the agency of the older children is taken into account and built upon.     

Relations among Sadness Regulation,Peer Acceptance,and Social Functioning in Early Adolescence: The Role of Gender

Using a multi‐informant approach, this study examined emotion regulation within the social context of White and Black adolescent peer groups by assessing two aspects of sadness expression management (i.e., inhibition, disinhibition) and their linkages to peer acceptance and social functioning as a function of gender and ethnicity. Seventh‐ and eighth‐grade adolescents (N = 155, 52 percent female, 54.8 percent Black) completed self‐reports and peer nominations of sadness management and sociometric ratings of peer acceptance. Parents rated their child's social competence and social problems. Results revealed specific patterns of sadness regulation across informants that were associated with social functioning and varied by gender, but not ethnicity. Boys were more likely than girls to minimize sadness displays; boys who violated this pattern had lower peer acceptance and higher parent‐rated social problems. In contrast, although girls were rated as displaying overt sadness more frequently than boys, this was unrelated to peer acceptance.     

杜荀鹤诗悲情探微

杜苟鹤，一个生逢乱世的社会底层文人，一生奔波求取功名？经历坎坷，身心遭受了巨大的痛苦。他的诗歌体现了晚唐的衰世之音。杜苟鹤诗之悲情主要表现在乱世亡国之悲、命运之悲、人格之悲。     

Influence of Gender on Parental Socialization of Children's Sadness Regulation

Mothers' (N = 60) and fathers' (N = 53) perceptions of and desire for change in their 6‐ to 11‐year‐old daughters' (N = 59) and sons' (N = 54) sadness regulation behaviors (i.e., inhibition, dysregulation, coping) were examined in addition to parental responses to children's hypothetical sadness displays. Results of multivariate analyses of variance and regression analyses suggest that parental perceptions of and desired change in children's sadness behavior differ as a function of parent gender, child gender and child age (younger (grades 1, 2), older (grades 4, 5)), and predict the likelihood of contingent responses to children's sadness behavior. Overall, fathers reported being likely to respond to sadness with minimization whereas mothers reported being likely to respond with expressive encouragement and problem‐focused strategies. These parent‐reported socialization response tendencies, however, were more fully explained by the interaction between perceptions of children's sadness regulation behaviors and satisfaction with these behaviors. These findings highlight the need to include parent gender and parental cognitions as important variables in emotion socialization research.     

激情与悲情--论五四表现主义戏剧的精神气质与艺术风格

本文从表现主义戏剧兴起于中西方的相通的时代语境起笔,集中笔墨从"我化"和"化我"两个层面,考察表现主义戏剧在精神气质和艺术风格上所呈现的扬与抑的悖反状态,既把握五四表现主义戏剧与西方之"同",又把握其与西方之"异",既体认它的价值和贡献,又品思它的欠缺与遗憾。     

儿童的忧伤－－试析《童年》与《呼兰河传》

《童年》与《呼兰河传》最主要的美学特征表现为儿童的忧伤。它源于自传性的写作和创作者的天性,以儿童与老人、与死亡、与世界的辐射网加以展现,从儿童视角展示了文本忧伤的审美品格。     

郁达夫和川端康成：邂逅于“悲哀”之径

在东方传统悲感文化、西方世纪末思潮以及个体遭遇的交融、契合下,郁达夫和川端康成皆自觉选择和追求"悲哀"这一美学品格,深人挖掘人性,揭示自我在现实世界中的痛苦境遇,然而又因各自不同的社会环境和人生体验,使这一美学品格在同现实的关系质方面呈现出不同的特征.     

喜剧语境中的“味外之旨”——杨绛《弄真成假》美学品格新探

<弄真成假>是一幅僭越时代常情睽离"救亡"洪音的文学图景.从审美视域重读它可见其喜剧语境的谐谑意味和延伸出的"味外之旨"--"无言的哀戚".     

无所归依的人生悲凉——《古诗十九首》感伤内涵的文化思索

《古诗十九首》的感伤内涵,表面上看来是关于相思离别、游子望乡、生命苦短、世态炎凉等日常生活中悲苦的感叹,实际上却蕴藏了更为深沉的伤痛,是一代文人处在社会大裂变时无所寄托的精神孤独、无所追求的文化哀伤、无所归依的人生悲凉。