贾平凹与池莉作品中女性形象之比较

贾平凹和池莉塑造的女性形象具有很大的差异性,这种差异性的出现,反映了男性本位主义立场与女性本位主义立场的矛盾。贾平凹的作品体现了很浓重的男权意识,作品中的女主人公或被男性欣赏,或依附于男性,她们无论被作者赋予怎样的性格与命运,最终都失去了自我的主体性。而池莉作为新写实派的代表人物,文学创作比较贴近现实生活,她的作品多是从女性视角出发,用自身独特的感受来描写作品中的女性人物形象,描画她们勇于同命运抗争的自主性格和自主意识。     

西晋玄风与咏鸟赋的意象创造

谈玄之风始于正始年间,持续至东晋末期。玄风对两晋文学产生了重要的影响。受玄风影响,西晋时期咏鸟赋的创作较为繁荣,其意象类型主要有:"玄鸟"意象、"逸鸟"意象、"儒鸟"意象等。三种鸟意象的出现显示出西晋时期的咏鸟赋创作既与政治密切相关,也与当时玄学风气密不可分。     

The challenge of creating ‘alternative’ images of ageing: Lessons from a project with older women

This article analyses two participatory projects designed to engage older women in the creation of new imagery of old age. While it was hoped that this imagery would offer an ‘alternative’ to mainstream depictions or indeed offer older women a presence amidst the much noted absence of images of older women, the brief left it open to the professional photographers recruited to the project and to the participants themselves to direct the representations. In recent years, critical gerontologists have repeatedly called for artistic challenges to conventional ways of imaging old age. By working with two groups of older women, the intention was that ‘ordinary’ older women (non-celebrity, non-artist) could be included in that challenge and imagery created which would show the lives of older women honestly. In the case of the two projects described here, professional photographers were enlisted to give visual form to the women's views on ageing and their lives as older women and deliver ‘exhibition quality’ images. Important factors in determining the types of images produced included the artistic style and preferences of the photographers and their respective ages, both of which are explored here. In-depth analysis of some of the images produced shows that while they did not succumb to the usual ‘heroes of ageing’/‘bodily decline’ binary (Featherstone & Hepworth, 2005), they did not escape other dualistic categorisations. The images can be broadly viewed as nostalgic/melancholic or humorously carnivalesque. This finding is evidence of how difficult it is to create ‘alternative’ images of older women which defy established modes of categorisation.     

试论戏曲脸谱的意象营构与表情体验

戏曲脸谱是以高度夸张、高度抽象等艺术手段体现的意象创造。艺术家在舞台表演过程中 ,完成了发于内、形于外的充满情感的表情审美体验。脸谱的意象营构正是在表情体验指导下 ,将所获得的审美理想付诸艺术创造的具体实践。从无形到有形 ,是脸谱意象营构的艺术规律 ,它把艺术家的审美体验变为可以具体感知的艺术形象。脸谱的意象营构遵循“经营位置”的形式美法则 ,赋予脸谱意象以生动的感性表现形式。脸谱的意象营构脱离客观表象 ,而以表情体验作为审美依据 ,实现了遗貌取神 ,离形得似的艺术追求 ,达到了神似的艺术境界     

女性受众与传媒中的“女性形象”

着眼于女性受众的权益和对弱势群体的保护,本着媒介的社会责任和自律原则,媒介中的"女性形象"应该从片面走向完整,从矫情走向平实.媒介在赢利至上的市场规则下,也应该担负起一定的社会责任,体现出一种温暖的人文情怀.     

精湛的艺术 丰富的内涵——评阿特伍德的《猫眼》

《猫眼》被认为是加拿大当代著名女作家阿特伍德迄今为止最具艺术成就的小说。本文就其艺术特色以及丰富的内涵进行了探讨。     

Closed Circuits of Interaction?

Are CCTV images of such evidential strength that they speak for themselves? If not, then for whom do they speak? CCTV cameras form a growing presence in Britain's high streets. There are estimated to be 2.5 million cameras in operation in Britain, there is an increase in legislation relating to cameras and there is increasing concern amongst civil liberties groups about cameras' effects. Claims are frequently made such as 'if you are doing nothing wrong, you have nothing to worry about' and 'CCTV evidence is clear to see.' These claims depend upon acceptance of the proposal that CCTV images are simply left to speak for themselves and that CCTV staff do little interpretative work. However, to investigate these claims, we need to ask: How do CCTV systems actually operate in practice. How are identities for CCTV images made 'clear', accounted for and mobilized? What work is done to promote the notion that we have nothing to worry about with CCTV? How do issues such as 'surveillance', 'privacy' and 'public' become implicated within these identity production processes? This article seeks to tackle these questions through the interrogation of a single story involving a high-street CCTV system, local police, local residents, a national television company and civil liberties group. This analysis of interactivity (based on a broadly ethno-methodological remit) augments current sociological accounts of CCTV. Instead of accepting panoptic metaphors as a means of understanding CCTV, the article will open up the closed circuit of CCTV through an analysis of the pantopticon in practice.     

论元代婚恋杂剧中女性形象的近世性

作为近世文学萌发期的代表性文学样式,元杂剧作品中当然不乏对个人权利和要求的渲染,女性形象对爱情和婚姻的追求是其中的一个重要侧面。但元杂剧中女性形象强烈的依附性人格无法使其承担太多重负,元杂剧作家们在她们身上和相关作品中努力试图的,只是在正统儒学式微的背景下,另辟蹊径,以达到教化的目的。元代婚恋杂剧中的女性形象是中国文学近世性复杂特征的充分体现。     

《周易·渐卦》新解——兼论《渐卦》与《诗经·渐渐之石》的关系

考《诗经·渐渐之石》篇,得出《渐卦》与《渐渐之石》无论是单个的"渐"字还是各自描述的内容都存在一定联系的结论,其中"渐"义应为"山石高峻之貌"。《渐卦》初爻辞有"小子"一词,各家解释不一,通过对先秦主要典籍中凡出现"小子"一词的各篇章的分析,可知《渐卦》中的"小子"指代"青年男子"。整个《渐卦》描述两件事:一是青年男子出征打仗之始末;二是妻子对出征丈夫的思念及艰辛的生活状况。     

“越女”考释及唐诗中的越女形象分析

越女一词是中国古代文学中一个具有丰富内涵的文化词汇,在唐诗中出现频繁,然而这一现象却极少被关注,文章根据相关文献资料对越女一词进行简单地考释,并粗略分析唐诗中的越女形象。