论艾伟长篇小说《越野赛跑》中的集体叙事

艾伟自上世纪90年代末登上文坛以来,就凭借诗性的语言、奇幻的想象以及深刻的人性与命运主题揭示,在文坛上引起广泛关注.他的长篇小说《越野赛跑》即是一种寓言化、狂欢化的书写,一经发表便得到评论界好评,展示出作家不俗的实力.本文试从文体学角度解读其所表现出的独特的文本叙事特征,以其中的集体叙事为论述重点,并结合作家本身的创作背景,考察小说所蕴含的历史及人文关怀.无论是集体回忆式的画面展示,还是众声喧哗般的现场辩解,作者都不忘历史解构的意图,亦庄亦谐中将反讽进行到底.     

张爱玲《传奇》的现代性和对话性

张爱玲作品常被误读为古典式叙述,但通过对其小说集<传奇>的叙述视角、叙述话语模式和非叙事性话语的分析,可以显示出其艺术表现的现代性.很少有作家像张爱玲那样有着极强的读者意识.她作品中的对话性不仅表现于作品本身,还表现于她与其特定的读者(上海人)之间.     

What it means to be a ‘model minority’: voices of ethnic Koreans in Northeast China

Ethnic Koreans in China have been widely recognized as a ‘model minority’ primarily for academic success. Using the data collected as part of a larger ethnographic research on Korean elementary school students, this paper examines how 27 Korean families construct meaning out of the model minority stereotype in the context of their lived experience in Northeast China. Research results indicate that Koreans constructed the multi-faceted nature of ‘model minority’ as a matter of cultural superiority and dual economic marginalization in the Chinese and South Korean mainstream societies, and valued education as a practical means to achieve economic upward mobility into the Chinese mainstream. This paper argues that the model minority stereotype with the cultural explanations for Korean success may reinforce the cultural deficiency argument about the academic failure of ‘backward’ minorities, silence the disadvantages suffered by Koreans in China's reform period and lead to no active intervention to remedy them.     

论宗璞《红豆》的修辞叙事

宗璞的<红豆>自发表以来,一直颇受争议,主要是对其主题革命战胜爱情的分歧.用小说修辞学的方法,从叙述者、主人公、读者三个不同视角,可挖掘出导致文本主题与实际效果差异的深层原因:革命战胜爱情的确是作者最初的创作意图,然而这一意图并非发自内心,而是受当时政治压倒一切的时代氛围的影响.作者依靠了两个不同的身份--叙述者和主人公一分别传达自己的意图,而两个身份之间的不稳定性最终导致了作者的情感分裂.因此作者在极力表现这一主题时,显得用力不当,由此导致文本主题的不确定性.     

试论老舍小说语言的三大系统

老舍先生的小说语言之所以风格鲜明，魅力独特，是因为它是作家在一整套文学语言理论的指导下自觉实践的结果。老舍先生的小说语言形成了三大独特的系统：字、词、句、段、篇、章的表达系统，辩证统一的审美系统，以“心”立“言”、以“言”造“境”的语境系统。     

Tales of transition: self-narrative and direct scribing in exploring care-leaving

Direct scribing is a technique that transforms oral discourse into written text, basically by typing oral material verbatim . It was developed in practice with youth in child welfare care and adapted for research data collection. The technique flattens the power imbalance in the interview situation and between oral speech and written text, supports self-reflection, democratizes the ownership of written material, is potentially empowering, and is an efficient means to produce high-quality text. The origins in practice are reviewed and a research application is discussed in detail. Thirty youths aged 18/19 from child welfare constructed self-narratives about how they conceptualized and managed the adolescent transition, and collaborated with the researcher in analysing the narrative as a story. Each interview was direct scribed and printed copy given to the participant. Participants were introduced to direct scribing by completing a questionnaire presented on a note-book computer, and some took part in a gender-specific group discussion as a final data-collection event, which was audio-taped and transcribed. The value of direct scribing and self-narrative in this research project and possibilities for other applications are discussed.     

碎片化构筑的智力博弈——电影《太阳照常升起》叙事分析

《太阳照常升起》以崭新的视角和独特的叙述方式吸引着观众的视线。这种独特的叙事主要呈现为碎片化的特征,即从组合段叙事、非情节叙事、开放式结局三个方面对影片进行阐释,并展示导演和观众间的一种智力博弈。     

论书法与动画的美学交融

各艺术门类间存在个性与共性特点。书法与动画也不例外，书法为静态的视觉艺术，动画则是动态的时空艺术。尽管二者在表现形态和风格上存在较大差异，但其间也有一些共同的美学规律。如果在较为成熟的书法艺术和新兴的动画艺术之间，在艺术语言形式、叙事方式和创作法则等方面探寻出共同的美学元素，找出创作的共同道理，就会从中国传统的书法艺术中得到许多值得动画艺术创作的可资借鉴之处，从而推动中国动画的民族化进程。     

文化英雄与性别叙事——对李连杰电影《霍元甲》的一种女性主义解读

<霍元甲>的经典形象是民族意识和男性话语的历史产物.2007年由李连杰主演的同名电影对这一文化经典的重新演绎,虽然已经意识到以往完全被忽视的女性形象和性别符号,然而在突出呈现文化英雄的民族主义话语的同时,仍然落入父权主义和男权话语的历史叙事模式.运用当代女性主义理论,通过深入解读影片中的性别形象内涵,从而揭示出在民族英雄的历史叙事中被传统父权话语所遮蔽的性别批评空间.     

What do lesbians do in the daytime? Recover

This paper examines a narrative taken from an ethnographic interview, for the speaker's conversational construction of lesbian and other identities along with ideologized personal history. To tell her story, Marge shifts to the discourse style used in the meetings of addiction recovery groups. She prioritizes the recovery (twelve-step) program's coherence system, structuring her life story in conformity with its terms while narrating a complexly queered identity. Four analyses are given, beginning with a Labovian formal examination and proceeding with a consideration of three types of discourse echoing: interdiscursivity, intratextuality, and manifest intertextuality. This study demonstrates the analytical linking of nonpublic linguistic discourse to social discourses; individual identity construction to social construction (and its coherence systems); and personal history to historical eras. The paper adds the concept of a metalevel complicating action to narrative theory and develops a means of examining intratextuality for critical discourse analysis. It presents a revised view of essentialism for the sociolinguistic study of gender and sexuality.