慈母与悍母——姜敬爱与萧红小说的母爱描写

姜敬爱与萧红的小说对母爱的认知呈现两极对立的反差性,前者塑造慈母形象,讴歌母爱的伟大,而后者描写悍母形象,揭示贫穷现实对母性的扭曲与异化。其原因可追溯至两位作家童年时代的家庭结构模式和母爱体验,姜敬爱沐浴着母爱的光辉,而萧红则缺失母爱。     

李梦阳“真诗”理论探源——“真诗乃在民间”命题的提出时间及由来

李梦阳在为自己的诗集《弘德集》所作的自序中,提出了“真诗乃在民间”的诗学命题,这一认识在其后的诗文中被多次重申,可视为李梦阳成熟的诗歌理论。李梦阳早年大量拟作汉魏乐府和民歌,记录了他在“真诗”道路上的可贵探索。因失望于文人学子的韵言而转向民间寻求真诗是李梦阳诗歌崇尚真情的必然走向,从自发到自觉。“真诗”理论的提出在当时具有尊情抑理的思想意义。     

90后大学生婚恋观存在的问题及应对性教育

90后大学生婚恋观总体上是积极健康的,但存在一些问题。这主要是由于受不良社会风气、道德观念及西方消极文化的误导所致。应从加强大学生价值观教育、婚恋道德教育和强化大学校园文化的隐性教育功能三个方面引导和帮助9 0后大学生树立正确的婚恋观。     

《名利场》中利蓓加的母爱缺失心理原型分析

萨克雷的代表作《名利场》以讽刺势利、批判金钱万能和宣扬仁爱为主旨，描绘了一幅英国上流社会的风景图。幼年时期母亲的缺席、社会环境的影响及自身人格因素，导致女主人公利蓓加对孩子母爱的缺失。家庭环境和社会环境的影响及其相互作用形成的人格特质，使利蓓加渐渐迷失了自己，失去了灵魂深处的本真，成为世人眼中不称职的母亲。     

贵州彝族传统情歌（曲谷）的音乐特色

Being one of the most ancient eth-nic groups in China, the ‘Yi’ have a long history and an abundant culture. Yi folk songs, which are widely sung in many regions of China, have vari-ous forms and styles. These folk songs reflect the lengthy history of the Yi society; indeed they ex-press the happiness and misery, the dreams and desires of the Yi people. Within this context, this article focuses on‘Qugu’ which is a unique type of music belonging to the Yi people. In fact most Yi people of Guizhou live in the Wumeng Mountains. In their quest for survival, over time the Yi had developed a series of natural worship rites which became one of the sources of their traditional mu-sic. In addition, Yi people formed a unique way to express their love: in times past they developed a tradition of singing in the mountains and forests as to convey their love to their beloved;the‘Qugu’ is one of these Yi’ s traditional love song genres.‘Qugu’ means ‘singing’ and this genre has its own social functioning. According to traditional Yi culture and habits, a ‘Qugu ’ should not be sung in front of parents, brothers, or other rela-tives;instead it should only be sung in a place sur-rounded by mountains and forests and on certain singing sites, called ‘Guji’(in Yi language). In most of the Yi settlements, such ‘singing sites ’ were placed far away from the villages, sometimes on flat areas and sometimes in the remote wilder-ness, in forests or caves. The singing activities on those special sites took place according to specific rules and calen-dars. During the so-called ‘singing festival’ peri-od ( from the 1 st to the 15 th day of the 1 st lunar month and on the 5th day of the 5th lunar month), the singing performances were particularly magnifi-cent. People of all ages, young and old, would gather together from all directions and would sing without interruption for several days. Moreover , the singing festival also had certain traditional rites ( ceremonies ) . For example, at the very beginning, certain clan elders or prestig-ious singers would offer wine and water to the‘heavens and earth ’ . After this offering, ‘the soul of the song’ was invited. The Yi people tradi-tionally worship nature and believe in animism, so indeed a ‘Qugu’ also has its own ‘soul’ . There-fore, when the singing festival would commence, they would invite the ‘soul of the song’ to come;this custom is called ‘Guyexi’ in the Yi language. The nextritual would be the ‘Guyidai ’ ( in Yi) , which means‘the settling down of the soul of the song’ at the particular singing site. There are lyrics like:‘If there is no settling down of the soul of the song, then when the next spring comes the sil-ver flowers will sever their roots, the golden flowers will sever their roots, and the singing sites cannot be set up ’ . After the settling down of the soul of the song, the next ceremony would be the ‘Gukoupu’ ( in Yi) or ‘opening of the mouth of the song ’:this basically means the ‘opening of the door of love’ and also indicates the formal beginning of‘Qugu’ activity. All of this shows indeed that the rite of‘Qugu’ is not as solemn as other rites, as in fact the lyrics of ‘Qugu ’ are mostly about love af-fairs and romance. When the‘Gukoupu’ ends, the young people can start to freely sing. There are indeed lyrics like: ‘Three young chaps brought three axes and went into three directions of the universe; they chopped three pine trees, sawed off three boards, made three chairs, and placed these facing three di-rections. They invited girls to take a seat; the girls sat down and sang. The girls invited the chaps to take a seat;the chaps sat down and sang’ . When this‘free singing’ begins, an ‘antiph-onal group singing’ starts at the singing site (‘Gu-ji ’ ); males and females take part in this and stand/sit separately as they all sing in antiphonal style. In the middle there is a ‘go-between ’ in charge of coordination, judging, and passing on information. The males and females sing and ob-serve back and forth. During this process, affec-tions may emerge between a certain male and fe-male. If indeed a guy or young lady takes a fancy to another person, he or she will ask the go-be-tween for help. If the counterpart gives a positive response, then the two will leave the group and go elsewhere to talk and sing. During this ‘antiphonal group-singing’ , each group can allow a certain ‘representative ’ to sing solo;this solo should not be a repeat of some song performed by someone from another group. The young males and females thus can each show off their voices by singing songs with free rhyme, sweet melodies, and serious or deep topics. It is easy to see that this ‘antiphonal group singing ’ provided a major means of romantic communication between young Yi men and women. In fact, the number of songs they could sing as well as the technique used in singing these significantly deter-mined one’ s ability to attract the opposite sex. As a consequence, both males and females were strongly committed to learn to sing, trying their best to master more and better songs. Through learning from their predecessors, they made an ef-fort to improve their singing abilities. As said, traditionally at the beginning of the singing festival, ‘the soul of the song’ would be invited; well, likewise at the end of the festival‘the soul of the song’ should be sent away again. The Yi people believed that if they would not send the soul of the song away, the young would be ob-sessed by affections all the time and even lose their minds. Finally, Guizhou Yi ’ s folk music-generally speaking-has a great variety in content, perform-ance locations, forms, and genres. Moreover, due to the regional differences music styles also vary geographically. All of this makes the multi-colored Yi music even more delightful and appealing. Unfortunately, the entire tradition ( ceremo-nies) of the‘Qugu’ as described above, no longer exists today. The singers who still know these pro-cedures are getting old and eventually will forget these rites. This is a big loss for the living tradition of the Yi culture, and it is a source of grief for those who study Yi culture, in China and abroad.     

Decline of Real Love and Rise of Virtual Love: Love in Asia

In Japan, marriage rates have declined since 1980, and interest in romantic relationships has declined in the 21st century. This article shows, mainly based on the official statistics and surveys, that (i) people in contemporary Japanese society have become less willing to get married or even date; (ii) various forms of virtual love have emerged; and (iii) they have spread in East Asian countries in general. Marriage stems from romantic relationships. Simultaneously, it brings with it new economic life. In Japan and other East Asian countries there is an unwritten norm that marriage should be part of economic life. Therefore, satisfying romantic emotions outside real love and marriage is accepted.     

论《失乐园》中亚当的正当理性与选择

在《失乐园》中，亚当的正当理性与选择涉及弥尔顿的古典资源与神学思想之间的复杂关系。通过区分自然法与实在法，可以说明正当理性与选择之间并无抵牾。上帝赋予亚当自然法，使其可以遵从正当理性。但是有关知识树果子的命令属于实在法，与正当理性不自动相合，因此亚当才有了真正意义上的选择。《失乐园》中自由选择(free choice)与真正的自由(true liberty)之间实有差异：前者对应亚当自由选择的能力，后者则是他遵从正当理性的结果。亚当在吃知识树的果子时，行使了自由选择，但他选择的是夏娃，而非遵守上帝的命令。这一事件的后果之一便是正当理性被蒙蔽，亚当从此失去了真正的自由。     

论巴恩斯《生命的层级》中爱之本质

英国作家朱利安·巴恩斯曾在多部作品中书写了爱这一主题。其2013年的作品《生命的层级》从天空、大地到墓穴三个垂直空间层次，叙述了三位主人公的经历及巴恩斯自己失去爱妻派特·卡瓦纳后的感受。从爱作为想象性生存建构模式、作为对话性的伦理范式以及作为信仰性的实践智慧三个方面探讨爱的本质。巴恩斯从个体经验出发，试图以爱作为一种救赎与信仰，形成生命的基本范式，以构建生活经验与知识的真实内涵，从而确立情感的智性维度。     

Broadening the scope of ageing femininities on TV: the evolution of the older woman in two contemporary Catalan soap operas

The older woman has been an unacknowledged character in fiction up until recently, when it has become the focus of some studies in the interconnected fields of literary and cultural gerontology. Given their popularity, TV shows are especially powerful in the propagation of images of any form of identity; accordingly, they can be regarded as an interesting and highly effective artistic and socio cultural vehicle through which representations of old people and of old women in particular can be analysed and discussed. Despite the success of The Golden Girls in the 80s and the exponential ageing of the baby-boom generation, TV series have also continued to depict older female characters as either motherly figures, always looking after their families at any cost, or as devilish older women characterised by inappropriate sexualised appearance and sexual behaviour. In contrast to this predominant tendency, Six Feet Under (2001–2005) stands out as a significant exception. In this article, we argue that Six Feet Under is innovative in presenting the older woman through the central character of Ruth Fisher (Francis Connor) and through the interaction of Ruth Fisher with other women within her same generation which face ageing from different perspectives.     

庄子乐论的美学启示

庄子乐论,多在世态人情的叙事中加以表现,深入研究其意义能发现音乐与美学理论的许多根本问题,如音乐审美活动之于人的专对性、音乐情感的本真性、音乐文本的多义生成及其与接受者的对象化关系的论说,生动反映出自然朴素的美学崇尚,以及对社会、人生与生命的感悟。