自我的悖论：论马克·斯特兰德诗歌中的双重意识

马克·斯特兰德善于把自我对象化，对自我及其所置身的世界进行有距离的观照，这种旁观者视角使得他的观察获得了某种“公正性”和“客观化”，从而打破自我和私人化，成为事件和风景的编年史见证人。主体性不再是一个统一的、形而上学的“自我”，而是陷入了悖论式循环的“递归的自我”。这种自我在场的取消，不但使主体性陷入了机械学的递归循环，也使语言陷入了类似的指涉循环。在这种状态中，自我和语言不再是指涉的和表现的，而是表演的和自我同一的。这种“最终的自我取消”绝不意味着对死亡的形而上诉求，而是重新寻回万物一体的本质同一性，以克服西方文明中主客观二元对立思维所造成的种种分裂与现代性危机。     

洛夫对超现实主义的认同与修正

洛夫诗中的兽性意象和黑色性意象,在对理性与道德秩序的冲击中,反证了现代文明人生命力的萎弱,显示了诗人对超现实主义者推崇的生命的自然性和再生性的认同。同时,由于受到传统文化审美心理等过滤机制的制约,从一开始,洛夫对超现实主义采取的就是一种修正性的接受态度。正是这种修正性的态度,催生了洛夫诗独特的风貌。     

《受活》:荒诞背后的焦灼

阎连科的《受活》用超现实的方法营构了一个荒诞奇诡的艺术世界,在荒诞的背后却是作家对于现代化进程中劳苦人命运的焦灼,对造成劳苦人悲惨遭际的权力个体、权力机制的拷问,以及对造成劳苦人失语的当下文坛的不满。     

刘宋时期的陶渊明

颜延之、范泰和鲍照三位文学家都具有陶渊明情结。颜延之是陶学及陶渊明接受的第一人,《陶征士(?)》是陶学 的奠基之作。鲍照第一次发现了陶渊明的文学,并开辟了文学史上拟陶与和陶之风。     

超现实主义诗人的创作实践

20世纪20年代 ,超现实主义运动引发了法兰西文坛的诗学革命。超现实主义艺术家对被逻辑和理性统治了几千年的语言及人类的思维模式提出了强烈的质疑 ,主张到逻辑和理性划定的思想范围之外寻找诗歌创作的新空间 ,于是 ,自动写作和梦境叙述应运而生。诗人们乞求于潜意识 ,诉诸于未经推考的即时言语 ,对梦境反映的自然意象与真实自我推崇备至 ,这一切构成了超现实主义诗歌创作方法的基础。     

象征：西方现代派文学的表意追求

象征是人类把握世界的一种方式,人类自诞生伊始,就有了以象征性的符号来表示客观事理和主观认识的习惯。在文学作品中,象征是以象征意象来暗示表现抽象的意义。艺术家将透过生活表面现象所领悟到的形而上哲思作为艺术表达的最高目的。作家们运用超实主义创作方法,精心营构出蕴义丰富的象征意象世界。20世纪是象征型艺术的世纪,西方现代派作品中具有鲜明的表意性,这反映了西方精神危机下现代人的焦虑状态,也表现了西方现代派艺术家们的形而上探求。     

嬉笑怒骂总关情——埃米尔·库斯图里卡电影论

伴随着南斯拉夫的解体和内战,埃米尔·库斯图里卡的电影一扫往日的沉静忧伤而变得狂野怪诞,同时,批判的锋芒逐渐减弱,阳光的情绪越来越多.毕竟,激情宣泄与玩世不恭难掩内心的凄怆悲凉和痛苦思索,放荡不羁的外表藏不住悲天悯人的赤诚心灵和救赎苍生的博大情怀,而超现实的电影语言和童话般的爱情故事在不倦地讲述着库斯图里卡理想主义的希冀和憧憬:生命是个奇迹,真爱创造奇迹.     

Organizational discourse as a creative space for play: the potential of postmodernist and surrealist forms of play

In recent times there have been a number of calls in the organizational discourse to consider entertaining the notion of ‘play’. Not overt physical play such as having a game of golf among work mates or team building through rock climbing, but intellectual play. These calls have generally arisen in the work of those scholars championing a postmodernist or post-structuralist perspective. These calls, however, are seldom accompanied by a coherent appraisal of why and how play is productive of something that non-play cannot or has difficulty in producing. In particular, what has been left out of much of this discourse is an appraisal of the underlying psychodynamics that are involved. This paper argues that play takes place in a space created to enhance illusion and that space, and the illusion itself, need careful handling at a variety of levels. Just as the space for play is created for the child to exercise their imagination and as a learning environment, it can equally be the space occupied by the neurotic - indeed, some postmodernists, intent upon play, have been charged with aiding, abetting and creating individuals who become delusional, have fragmented identity and may become schizophrenic. While this latter critique may seem somewhat harsh, it should prompt us to consider the idea of the attributes of a ‘safe’ space in which to play. Much of the organizational discourse on play has also asked us to take play ‘seriously’ as way of enhancing our theory development. This paper does not accept the ‘serious’- ‘non-serious’ dichotomy, but instead argues that play is a differentiated level of reality. This differentiated level of reality is inhabited by much in the way of paradox and irony that are essential for play to occur. These paradoxes and ironies are identified in an effort to enhance the outcome of play. In identifying some of the underlying psychodynamics of play, what emerges is an appreciation of how play is an activity that has the potential to help in our theory development of organizations. In the context of discussing the emergence of a new postmodern theory movement in the organizational discourse, various forms of postmodernist play are identified. In this discussion it will also be noted that these postmodernist forms of play have parallels in other fields. In the realm of art, for example, surrealism engages in similar forms of play. These forms of play are identified in the quest to better understand the dynamics of intellectual play and how we might better draw upon such dynamics to enhance the theoretical grounding of our own field. It is also intended, by examining the notion of intellectual play in a manner outlined in this paper, that basic aspects of postmodernist theorizing might also be better understood.     

论《金瓶梅》中武大郎被毒杀的超现实性

古典文学名著《金瓶梅》的巨大写实意义已为世人所公认。文章从人物心理、特征等方面入手 ,就《金瓶梅》中武大郎被毒杀这一情节的超现实性进行了探疑 ,同时分析了其原因以及对小说写实意义的影响和主题思想批判性的削弱。旨在更加客观地认识和了解这部古典名著。     

从文学现象到艺术探究维度——对20世纪现实主义思潮的反思与阐释

美学史上的现实主义,无论作为方法、思潮还是观念,都有着极为深远的影响.随着20世纪社会和文化发生巨大变化,现实主义内涵的游移不定与外在形态的弹性发展相互作用并连在一起,构成了"现实主义现象".考察其中的几个主要文艺思潮或流派可以发现一方面,现实及人们对于现实观念的变化必然体现在艺术中并对艺术产生影响,艺术文本的生成离不开现实生活;另一方面,艺术文本自身具有现实指向性,它必须以独有的方式介入现实生活,才能实现艺术的价值.由此,它们共同称作或被称作的"现实主义",能够作为我们探究艺术的一个维度.