姜淑梅：六十学写字，七十来写书

今年77岁的姜淑梅老人,60岁开始认字,75岁开始学习写作。老人76岁时浙江人民出版社出版了她的处女作《乱时候,穷时候》,该书讲述了老人亲身所见所闻的民国时期。抗战时期、新中国成立后那些曾经的“穷、乱”时代。     

奢侈--价格背后的价值

Chelsea 8岁那年跟随父母移民到加拿大,从4岁起学习小提琴的她喜欢在家研究不同的乐器,大学则顺利的考上了加拿大西安大略大学学习音乐表演,主修小提琴和声乐。毕业后Chelsea成为一名小提琴老师,活泼开朗的她喜欢和不同的人打交道。喜欢各种国际品牌的她,选择了兼职做一名奢侈品销售。     

王二妮：窑洞里飞出的小小鸟

八岁，那该是孩子们躲在妈妈怀中撒娇的年龄，有一个女孩，却能一路歌唱着给家里换来柴米油盐；十五岁，很多孩子正处在青春期，有一个女孩却为了家里破烂的窑洞、刚背上书包的弟弟妹妹，     

为女童穿上“水晶鞋”——走进灰姑娘俱乐部

儿童是这个社会的弱势群体，而女童更是弱势中的弱势。5-12岁，是一个人人格形成的第二个关键期，孩子们正经历着“社会化”的过程。但从社会整体来说，我们对孩子尤其是对女童的心理问题的关注和扶助还太少。2010年3月正式揭幕成立的灰姑娘俱乐部（又名上海市静安区关爱女童工作协会），是一家来自民间的NGO组织，主要针对该地区疾病、贫困、单亲以及父母是外来务工人员的女童，帮助其化解心理问题、提供需要的经济帮助，并帮助家长发掘孩子的潜力、激发孩子的创造力。     

一针一线，绣出幸福晚年

色彩鲜艳、活灵活现的公鸡,徐悲鸿笔下气势磅礴的马,枝头俏丽绽放的梅花,当你看到用一针一线钩织的这样一幅幅十字绣作．品时,很难相信它们竟然出自一位77岁的老人之手。家住哈尔滨的退休老人闫端就是这些作品的主人。她的作品不仅深受家人朋友的喜爱,更让她收获了一份充实、愉悦的晚年生活。     

女人三十要做的事

在商场顶层的咖啡卡座,我边喝咖啡边等人,身后传来一对女伴的对话,甲女轻叹,下个月我就三十了,这可真让人心烦,有些该见的人总抽不出空去见,有些要做的事一晃也就蹉跎了。乙女颇有同感附和道,以前觉得三十岁是下辈子的事,怎么一眨眼就过三奔四了,早知如此,当初就不该……     

你准备好变老了吗？

20岁，对于老的认识，也许只是担心身材走样的尴尬，忍受不了长皱纹斑点的烦恼，甚至害怕爱情不再眷顾。这些看似天真虚无的苦恼，实际上意味着离老去还远着呢。30岁，有了家庭孩子，每天都在为生活忙碌着，老的概念变得逐渐清晰，偶尔的一根白发、突然出现的一条皱纹，都惹人心惊。谈论养老的次数开始增多，很多人开始制订养老计划。     

抓住机会

南非大使夫人佩特拉试着抓住在中国生活的各种机会。出生在德国的佩特拉,1993年移居南非。如今的她已把南非看成是自己的家乡。     

精神的穿行

中国当代女画家叶南从1989年到1996年,在俄罗斯列宾美院留学。她的作品深受俄罗斯画派的影响。我们从她的作品中可以看出她对历史以及宗教的思考。     

第一位在《联合国宪章》上签字的女性

吴贻芳，1928年受聘于母校金陵女子大学，先后主校23年，将学校掌管得有声有色，蜚声海外。1945年，昊贻芳作为中国政府代表参加在美国旧金山召开的联合国制宪大会，并成为第一位在《联合国宪章》上签字的女性。     

A SELF-MANAGEMENT MODEL FOR SUPERVISION

The authors present a management-of-self model of supervision that is currently being used in the graduate training program in marriage and family therapy at Virginia Polytechnic Institute and State University. The major proposition of the model is that as the supervisee comes to understand how family of origin and family constellation patterns learned in the past are reenacted within the therapeutic context, he/she can then interrupt those patterns of interaction that tend to inhibit his/her therapeutic effectiveness.     

Lifting the veil of silence: Jamuna's narrative of pain

This article relates the story of the life of Jamuna, a married mother of two boys and a girl living among a scheduled caste in India. The female researcher had been interviewing Jamuna's husband, who sells excess cloth to wholesalers and is active in the Bahujan Samaj Party, which is seeking to liberate India's lower castes. Jamuna usually ignored the female researcher or treated her curtly. The researcher, however, invited herself to lunch at Jamuna's house one day, and Jamuna unexpectedly began talking about her life while she prepared the food. Jamuna refers to her husband as "Bhim's father" (Bhim is her oldest son). Bhim's father rules the household, controls the money, never consults his wife, and treats her like a servant. Jamuna looks much older than her estimated 25 years. She was engaged when she was 8, never attended school, and was kept indoors. Her children attend an expensive school, and her husband wants them all to stay in school as long as possible and then get jobs. Jamuna was married to Bhim's father because his family did not demand a dowry. Both families have small farms, but her family grows more crops and makes more money. She used to live with her in-laws but now they avoid her. Jamuna feels strongly that girls should be married early to avoid disgrace. Jamuna was shocked by menstruation and intercourse. After her third delivery, Bhim's father allowed her to become sterilized. She hates her husband and believes he hates her. He treats her like a slave and insults her. His only virtue is that he ignores other women. Jamuna has no friends or confidants. She was not consulted about the move from the village to Delhi. When Bhim's father is away, she has to tend to his business and risk his anger over her mistakes. After this outpouring, Jamuna retreated to silence when the interviewer came to visit.     

以外貌取国籍?(英文)

当一个金发碧眼的美女闯进你的视线,你能说出她是美国人、英国人、还是欧洲人吗?而面对黄皮肤、黑头发的亚洲人,又有谁能断定他们来自中国、日本、韩国、抑或东南亚?倘若真能以外貌取国籍,判断的依据在哪里?     

Battered women who were "being killed and survived it": straight talk from survivors

Findings from police reports and interviews with women who have survived an attempted domestic homicide revealed patterns in their experiences and sources of distress. The build-up in the year prior to the near-lethal attack involved tension from ongoing contact with an angry, controlling batterer. Most typically the perpetrator was an alcoholic or drug addict, a gun owner, and, if his victim had left him, her stalker. In the majority of cases, the victim had either left or announced that she was leaving the relationship. While he had often threatened her life and she feared him, she typically did not think him capable of killing her. She described the attack as shocking and terrifying, and she felt certain she was going to die. In the immediate aftermath, she received some support, but as time went by, she felt isolated and alone. Ultimately, the women became convinced that they must rely on their "inner strength" to get on with their lives.     

Occupational Health and Safety a New “Imposition” for College Staff

Abstract

The use of neuroleptic medicine in the treatment of schizophrenia is often predicated on the goal of eliminating psychotic target symptoms. However neuroleptics, especially when used long-term, may produce unacceptable side effects. An alternative treatment goal, ideally suited for the thought-disordered college student, is to help him/her understand his/her symptoms in a new way, so that he/she responds to them differently even though they persist. A case is presented to illustrate the time-limited use of neuroleptics, in conjunction with psychotherapy that emphasized reattribution of the meaning to the patient of his psychotic symptoms, enabling him to manage the symptoms without further need for medicine.     

女性真的有“标准”吗?(英文)

理想化的观念看来.对人的认知应该以"个体".而非"男"或"女"作为标准衡量。然而.现实生活中.我们在审视他人时.却很难脱离一些与性别相关的"标准"。所谓"女性的标准".往往是社会赋予女性身上一些仪表、言谈举止的特征。这些特征在中西方文化的差异中有怎样的反映呢?     

THE IMPURITY OF REPRESENTATION AND THE VITALITY OF DEMOCRACY

This article compares the conceptions of democratic representation found in the work of Ernesto Laclau and Hanna Pitkin. Whereas Laclau takes Pitkin as his foil, I contend that her treatment of representation has much more in common with Laclau's than he gives her credit for. Pitkin made a bold critique of foundationalist notions of responsiveness and acknowledged representation's constitutive function. Yet, her antipathy to symbolic representation made Pitkin recoil from the most radical implications of her argument: she would see as a threat to democratic politics that which Laclau casts as its vitality. Laclau's work, then, does not merely refute Pitkin's but advances a line of argument that she set into motion.     

Holding the Traveller's Gaze Accountable in Shiva Naipaul's North of South: An African Journey

Abstract

Travelogues are partly based on what is witnessed, observed and noted about the places and people visited and what is already known in advance, mainly from an existing archive. The archive, therefore, is an important element in travel writing. However, an author cannot avoid responsibility for what she/he notes/writes/composes about a place and its people. In a sense, a biography of a place may represent a writer's struggles to compromise between the material in the archive – such as existing books on the subject of his/her writing – and what she/he actually observed/observes. The veracity of the writer's narrative/story is dependent on the logic of the evidence that he/she adduces. The weight of the archived narrative, however, can burden the writer in which case he/she would need to limit its influence in order to tell a ‘believable’ story. Shiva Naipaul's extensive reliance on the existing pre- and colonial-time archive of writing on Africa seriously undermines his representation of life in postcolonial East Africa. The result is a travelogue filled with a great sense of personal disappointment with the political, cultural, economic and social conditions in postcolonial Kenya, Tanzania and Zambia – the countries that he visits. Shiva seems to unwittingly translate this sense of deep disappointment into a ‘demonisation’ of Eastern Africa. Whilst acknowledging that there is a difference – and an important one – between a text and the world that it seeks to represent, the key proposition in this paper is that Naipaul's biography does not offer any redemptive characterisation of both the African space and the people that he writes about precisely because it summons a biased archive as evidence for its own claims.     

BIASED INFORMATION AND EFFORT

We study the impact of information manipulation by a principal on the agent's effort. In a context of asymmetric information at the principal's advantage, we test experimentally the principal's willingness to bias (overestimate or underestimate) the information she/he gives to her/his agent on her/his ability in order to motivate her/him to exert more effort. We find that (1) principals do bias information, and (2) agents trust the cheap‐talk messages they receive and adjust their effort accordingly. Therefore, biased messages improve both the agent's performance and thus the principal's profit. This, however, does not increase efficiency. We also find that overestimation occurs much more often than underestimation. Making the signal costly in an additional treatment reduces this effect. (JEL D83, C92, M12)     

The Downfall of Gomułka

Marina Tsvetaeva’s 1934 “Chërt” (The Devil) forms a central part of the cycle of autobiographical prose she wrote in emigration. This article assembles clues to the hidden origins of the Devil she describes in prose about her grandfathers, some of it censored in pre-1990 editions of her works. Tsvetaeva’s Devil is not simply metaphysical: it has the unusual appearance of a Great Dane. Though she goes on to trace its appearances in the literature and culture of her childhood, some of its physical features (eyes, nose, colour and posture) link it with other people in her life. The vivid details of the Devil suggest relationships, though peculiarly mediated ones, to members of her own family, especially her maternal grandfather, Aleksandr Danilovich Mein. The poet describes herself using Pushkin’s poem “Utoplennik” to camouflage her own sense of self from her mother. Much of the rest of “The Devil” describes her recognition of the Devil in varying symbolic or even phonetic guises, tracing how the poet stayed faithful to him even after he ceased to appear visibly, how she found and read his symbols in surrounding reality—e.g., card games, toys, rituals for finding lost objects—and in unexpected, otherwise respectable, parts of society, including her own grandfather. As always, Tsvetaeva creates a story that affirms her identity as a poet and illustrates the work she had to do to achieve that identity.