在"生死场"和"呼兰河"之间--论萧红创作之转变

本文选取萧红创作研究中较少受到重视的创作时期,即从<生死场>之后到<呼兰河传>之前这段时间为对象,将它置于作者的整体创作历程中加以考察,梳理分析萧红创作转变的内在轨迹和深层原因.     

生态文艺批评视野中的文学怀旧策略

资本主义现代性的发展带来的生态危机全面影响了人类生活的物质及精神世界,具有特殊气质的诗人感知这一危机并诉诸笔端,怀旧成为文学作品中常用的一种策略。近现代以来的文学怀旧和早期的文学怀旧尽管在文学表达形式上相去甚远,在精神层次上却是互通的,即它们都是一种生态乌托邦,都承载着生态文艺批评的宏大志愿并启示着挽救生态危机,重建自然秩序的方向。     

丁尼生诗歌创作的怀旧情结

19世纪后半期的英国诗歌可称为丁尼生时代,可他本人似乎并不钟情于自己的时代,他的诗作往往表现出强烈的怀旧情感,一种对于过去和往昔的珍爱之情。拟从分析丁尼生的诗作以及他对传统诗人、历史题材的钟爱以及他独特的诗歌创作技法来剖析怀旧情结在丁尼生诗歌创作中的表现。     

乡愁的两种表达式——余光中《乡愁》与洛夫《边界望乡》比较

余光中《乡愁》和洛夫《边界望乡》为台湾乡愁诗歌的“双壁”。两位诗人都有着颠沛流离的人生经历,又不约而同走过由“西化”向传统回归的诗歌创作之路,时空阻隔所产生的乡愁为《乡愁》和《边界望乡》共同表现的内容。余光中《乡愁》在一静态的情境中创造完成,所表现出的乡愁情感具有普适性、共通性;诗作结构整齐,节奏静缓,意象朴素明朗,语言体现了一种纯净之美。坚持创造性为诗歌生命,洛夫近乡情怯而作《边界望乡》,抒发的是极具诗人个体性的乡愁体验;诗行参差,结构跌宕,节奏激越,意象新奇,诗歌语言散发出魔性的色彩。     

网络“偷菜”与现代人怀旧的社会学分析

现代文化的变迁导致了现代人的认同危机,＂怀旧＂成了人们解决认同危机的有效途径之一。立足于现代人对中国传统农业文化的集体记忆和对传统文化的认同,就成年人的网络＂农场偷菜＂现象分析,结论认为这是一种现代人认同危机下的文化怀旧,呈现的是大众、平民、草根化、网络性的文化怀旧特点,表现出的是现代社会大众对伴随他们成长起来的乡村文化的一种怀念。     

在拟像中安放无根的青春——论网络怀旧视频的类型、本质与功能

 随着视觉文化进入数字和视频时代,国际影像研究界对于“电影之死”的争论愈演愈烈。以中国本土网络现象--蔚为大观的“怀旧视频”为分析对象,呼应了国际影像研究界的热点主题。在后现代语境中,首先探讨了“素材重构型”和“网络原创型”两类视频截然不同的影像呈现方式;其次分析了图片集锦等视频的电影性,透视网络这一特殊的空间场域引发的观众对视频的深度参与、影像接受与记忆的关系,并分析了这种“关注力”如何在网络空间中得以渗透与蔓延,从而在特定人群中沉淀“集体记忆”、营造集体怀旧的氛围。最后,将关注“80 后”一代的代际特征,把网络怀旧影像视作一种现代性压力下,失去安全感和归属感的群体合理且必要的符号化的情绪消费。     

Food,Memories, and Identities in Hong Kong

This article adopts a processual and relational approach to study food remembrance and investigates how different ways of appropriating food reveal the politics of identities in Hong Kong. It examines how food memories reveal relationships between the past and the present, reflect epochal transformation, and mark changing identities of various groups of people through new ways of appropriations. It takes the case study of pancai, a special banquet food for the villagers in the New Territories of Hong Kong, to examine the relationships between food and identities. This article investigates how pancai is remembered, popularized, and reinvented with different variations and embodies shifting meanings for the New Territories inhabitants as well as other Hong Kong people in changing socioeconomic and political environments. Pancai has been imbued with multiple layers of significance, involving linkages between local and national, emigration and Chineseness, urbanization and rural heritage, as well as decolonization and identity politics. As identities are by nature negotiable, situational, and fluidic, pancai's multiple layers of meanings correspond to different levels of identities—identities of the New Territories inhabitants, the rest of the Hong Kong people, and the mainland Chinese.     

Musical Ties That Bind: Nostalgia,Affect, and Heritage in Festival Narratives

Affective heritage embracement, a collective narrative of nostalgia, is identified at two popular music festivals. “MusicFest” embraces a tradition of “Red Dirt” country music through performance (music festival), whereas the “Walnut Valley Festival” embraces a bluegrass/folk musical heritage through performance and participation (musicians' festival). The symbolic importance of musical interaction is explored to highlight the experienced emotionality that leads to the affective ties that bind these otherwise temporary communities. This collective narrative reveals the various functions of nostalgia wherein collective sentiment both reflects and creates the perceived authentic experiences of festival attendees.     

Speaking out loud: Muslim women,Indian Delights and culinary practices in eThekwini/Durban

I asked, ‘Did your mother teach you to cook?’ Almost an hour later, time consumed by mutual reminiscences of Indian Delights, stories of the tastes and textures and colours of food and life in Durban, at last when I thought it would never be answered my question swam back up to the surface of our conversation: ‘You know, then I lived with my oldest sister, not my mother. Her mother-in-law taught me.’ Too heavy a shift of register, the answer dropped into the bubble of conversation we had made around ourselves, imposing another reluctant silence. I could not ask more, not then. Deliverance came through other stories. We talked about the subtly different combinations of spices that women even from the same family choose to use, and the embodied pleasures of walking into a kitchen steamed up with the smells of several dishes all cooking at once. And for the moment we avoided returning to a family narrative of separation, loss and melancholy.     

乡愁与共同误识——析福克纳小说中美国南方的乡愁情结

在福克纳的南方小说中,南方旧家族对现时世界的拒斥,对传统世界的认同表现为一种乡愁形式——对失落的精神家园的回归.此种回归不仅是情感上的怀旧,它也包含了南方乡愁实践者之文化诉求和认知模式.本文旨在说明:南方的乡愁企图在南方和北方、过去和现在、白人和黑人之间划出清楚的界线、区隔出等级,对南方传统中的共同信念予以坚守,对"外来"的、异质的因素予以拒斥;试图通过美化、过滤、遮蔽"罪恶"和割裂时间等手段来"重构"业已解体的南方秩序.这种乡愁实则为共同误识所驱动,谬误之处在于其自我中心性,不愿承认时间进程带来的变化,对南方传统中的悖谬、暴虐和罪恶没有进行反省和批判,相反极力粉饰过去,想证明旧秩序的合理性与合法性.因此,在反省、批判意识缺失的情况下,南方的乡愁表现为同一性认同、区隔"我"与"他者"、排斥差异的功利化利益行为,非但不能清算过去的罪恶,反而因在无反思的乡愁中遮蔽罪恶而使自身的行为被罪恶所污染.