“子美集开诗世界”新解

王禹偁的"子美集开诗世界"关注点仍是杜诗集大成的特点,身为白体诗人的王禹偁在杜甫诗并未受到普遍重视的条件下,既没有有意识地超越白体进而向杜甫诗学习,也不可能留意于杜诗是否推陈出新.     

Sociocultural Variations in Adolescent Girls' Expressions of Distress: What We Know and Need to Know

Social workers have a unique interest in understanding diversity in patterns of human adaptation to adverse circumstances. This paper draws social workers' attention to empirical research on sociocultural variations in adolescent girls' expressions of distress. Focusing on internalizing and externalizing modes of expression, the author summarizes current studies that investigate ethnic/race and socioeconomic influences on adolescent girls' behavioral and psychological symptoms of underlying distress. This review of existing literature points to the need for a more refined understanding of multiple and interacting influences on adolescent female patterns of expression and draws several implications for social work practice with this diverse population group.     

基于改进BP网络的企业绩效评价研究

为解决传统企业绩效评价过程中主观、不确定指标因素影响评价精度导致可操作性差的问题,本文将BP神经网络用于企业绩效评价中,构造了一个估价模型。同时对BP逆向算法局部收敛的缺陷,通过应用变尺度法(DFP法)进行改进,加快了传统网络算法的收敛速度,提高了估算精度。计算实例表明该模型是可行、有效的。     

谈中国公司股东会制度之完善

基于立法理念上的偏差 ,我国现行的公司股东会制度有很多缺陷有待纠正。在股东会的召开方面 ,应当完善股东会的出席者、会议的召集、临时会议的召开时间、会议通知和议事日程等方面的规定 ,并做出一些有利于保护小股东利益的规定 ;在股东会的表决和决议方面 ,应当完善有关代理投票权、通过决议的表决权数、对违法决议的救济措施等方面的规定 ;在维护职工利益方面 ,应当设计一套职工持股的机制 ;在股东的诉权方面 ,应当就股东诉讼的适用范围、针对的对象、起诉条件、诉讼请求、特殊的程序及股东代表诉讼等问题做出合理的规定     

中国农地产权制度创新与农地可持续发展

在世界经济的发展已步入可持续发展的今天,中国农地矛盾的日益突出以及耕地资源的下降,致使我们不得不寻求出一条适合中国特色的农地可持续发展途径,而农地产权制度是农地可持续发展的前提条件,本文就从对农地可持续发展的认识入手,分析了我国现行的农地产权制度对农地可持续发展的负面影响,进而提出可持续发展要求下农地产权制度创新的对策。     

清代文学与审美文化

从审美文化的角度探讨清代文学,目的在于探讨清代文学与同时代其他审美文化之间的关系,展示清代文学与整个时代文化互相影响的状况,同时也为观察清代文学的发展提供一个背景。文章分三个方面进行陈述:文学与绘画,文学与工艺,文学与风俗。     

流行音乐的情感因素分析

情感是人们对社会认知的一种方式,而音乐则是情感表达的一门艺术。流行歌曲之所以受人喜爱,是因为它表达了人的情感需求。文章以歌曲《常回家看看》为切入点,从情感因素的情感认知、艺术表达、社会需要三个维度分析其被人们喜爱的原因。     

‘Police On My Back’ and the postcolonial experience

‘Police On My Back’ was written in England by Eddy Grant and recorded by his group, The Equals, in 1967. Since then it has been covered by a number of artists. In this article I am concerned with the original and four covers. Over the 40 years between the Equals' version of the song and the final version with which I am concerned, the meaning of the lyrics has changed from being an expression of Jamaican rude boy culture to being a song that expresses the oppression of migrants from British and European colonies living in the metropoles of the colonisers. This article tracks the changes in musical and lyrical expression in the song against the increasingly oppressive circumstances of those migrants and their descendents. These are the circumstances that contributed to the British riots of 1981 and of 2011, and the French riots of 1981 and the many subsequent riots climaxing in those of 2005. ‘Police On My Back’ has always been hybrid. Grant's version placed rude boy lyrics with a British beat group sound. Later, as the lyrics came to reflect the circumstances of the migrants, so the musical backing came to include a variety of musical forms, many of which expressed the heritages of the performers and asserted the legitimacy of those heritages in a multicultural context.     

话剧《我们的荆轲》审美形态路径分析

莫言的话剧作品《我们的荆轲》在审美形态上进行了积极而有意义的探索。作品以喜剧性作为贯穿全篇的主基调,采用骂詈、揶揄、讽刺、幽默、闹剧等喜剧形式,对政治、哲学、爱情、人性的丑恶等进行了探析和讽刺,契合了民族审美心理和当下观众的欣赏习惯;同时嵌入悲剧性元素,有效规避了喜剧作品极易流于轻佻浅薄的风险,不着痕迹地将意义和庄严这些喜剧或缺的范畴带给了观众,从而产生了一种丰富和独特的审美体验。将喜剧性和悲剧性这两种审美形态融于一身的创作实践,给我们当下的戏剧甚至其他文学作品的创作提供了路径上的有益借鉴。