列斐伏尔"空间生产"的政治批判探析

列斐伏尔"空间生产"的政治批判蕴涵的理论主题是对空间生产政治现象形态的批判.他考察了空间生产与政治的关系,认为空间生产与政治是互动机制:政治影响空间生产,空间生产执行政治功能;其理论方法是运用马克思唯物辩证法阐释空间生产政治化的悖论及其克服路径;其功能特质在列斐伏尔看来,要拒斥空间政治霸权,就要凭借总体人和身体革命实现空间政治权利.列斐伏尔"空间生产"的政治批判能够展现政治意识形态和空间生产的互动效果,其中蕴涵着对日常生活微观领域的考察,从而能够推动社会政治的研究视域.     

Women’s mobilisation in the Portuguese revolution: context and framing strategies

This article examines the role of women’s mobilisations related to the 1974 Portuguese revolution. An in-depth analysis of three women’s organisations through archival research and interviews with participants highlights the ways in which they participated in a cycle of contention between 1974 and 1977. Examination of framing strategies demonstrates the effects of political and cultural context. In particular, I demonstrate that movement–party alliances informed and constrained the diagnostic and prognostic frames of women’s movements on feminism and the revolution. Opportunity structures are shown to vary for different organisations within the same cycle of contention. Facing relatively closed opportunities, two of these organisations pursued framing strategies that articulated with the Left-dominated master frame of the cycle in order to carve out spaces for gender-specific demands while rejecting the label of feminism. The third organisation, instead, presented a countercultural frame that alienated the organisation from party and movement allies. Unable to overcome ideological divisions and rivalries, the three organisations perceived each other as competitors, rather than potential allies. While party–movement cooperation contributed to the emergence of a fractionalised women’s movement, it also provided important support structures to aid women’s organisations to mobilise in a cultural and political context that was closed to feminist demands.     

Imagining a Life

ABSTRACT

Born in Ohio in 1876 to wealthy parents, Natalie Clifford Barney is today better known for the freedom of her lesbian life-style than for her writing. Nevertheless, she was a serious writer, and consciously engaged in writing from a specifically lesbian point of view. With her lover Renée Vivien, she attempted to revive the cult of Sappho, and thus to revitalize a lost lesbian literary tradition. Through her weekly salon, Barney encouraged women writers, serving as a mentor and muse, and often as a lover. She enjoyed enduring friendships with many well-known women and men of letters, such as Gertrude Stein, Remy de Gourmont, Colette, and Dolly Wilde. Fictional characters based on Barney appear in novels by Lucie Delarue-Mardrus, Liane de Pougy, Djuna Barnes, and Radclyffe Hall. Barney's own writing consists of one novel (The One Who Is Legion, an eccentric meditation on gender and personality); a few collections of plays, poetry, and “portraits” of women; several volumes of memoirs; and two major volumes of “pensées,” or aphorisms, in which she comments on society, politics, and sexuality using a variety of urbane personae. Natalie Barney's work deserves more recognition than it has received, and her life still can serve as a model of self-creation uninhibitied by social strictures.     

Rethinking the Modern Transformation of Classical Chinese Literary Theory

Though it is not new, the topic of the modern transformation of classical Chinese literary theory still holds profound significance for China’s current efforts in carrying forward the essence of classical literary theory and constructing a new literary theory that conforms to the spirit of our times. Today, Chinese scholars have to handle two traditions: one is the classical literary scholarship up to the 19th century, distant in time and space from today; the other is the modern tradition that started in the early 20th century. These two traditions involve not only rupture and heterogeneous change but also continuity and partial homogeneous preservation. Taking our stand on the modern and contemporary tradition, we should consciously pursue research on classical literary theory, using modern consciousness to scrutinize, reorder, discover, select, interpret, activate and absorb its finer elements, those that are still vital, so as to creatively promote its modern transformation and further integrate it as an organic component of the construction of modern Chinese literary theory. Over the past two or three decades, Chinese scholars have been advancing this great project in a systematic and solid way, achieving gratifying progress. We must strengthen our efforts and make further progress with this great undertaking.     

从刘勰的“神思”看其艺术创作观

“神思”是我国独有的艺术理论概念 ,是贯穿艺术创作过程的一种富有艺术创造精神的思维涌动。刘勰认为心神自由运行是艺术创作的基础     

鲁迅研究若干问题之我见

鲁迅研究中存在许多值得进一步探讨的问题：如何理解＂民族魂＂的含义？鲁迅是否属于苟活者？鲁迅传的写作应运用怎样的视角？鲁迅创作自述研究中存在哪些薄弱点、空白点和偏误点？通过对这些问题的探讨,从中归纳出应该吸取的理论和方法论方面的经验教训,不仅能够更好地促进鲁迅研究和中国现代文学研究,而且也会给广大的当代作家和研究者提供有益的启示。     

新中国成立70周年与全球教育创新——“第三届全球教育50人论坛”综述

为深化全球教育视野下的中国教育改革，解决中国教育改革当中的重点、热点和难点问题，探索未来全球教育改革发展趋势，提升中国教育在世界的领导力，在新中国成立70周年之际，西南大学、"全球教育50人论坛"、清华大学民生经济研究院联合清华大学当代中国研究中心、清华大学社会与金融研究中心、西南财经大学资本市场研究院及小平故里书院在西南大学举办"第三届全球教育50人论坛"。大会以主题报告和分论坛讨论的形式进行。主题报告以国际视野中的中国教育和全球教育创新前沿为主题，深入探讨了全球教育创新背景下我国教育改革的路径与目标；分论坛以大学治理与全球教育创新、科技革命与全球教育创新为主题，对大学治理、科技革命对教育改革与发展的影响以及如何应对等进行了深入讨论。     

关于“重写文学史”问题的若干思考

自1988年陈思和、王晓明在《上海文论》上主持“重写文学史”专栏， “重写文学史”这一说法第一次被明确提出，遂成为20世纪80年代文学活动的核心面向之一。但笔者认为，如果仅从狭义的角度来理解“重写文学史”是远远不够的，它不只是80年代产生轰动效应的文学事件，更是自现代文学产生以来就贯穿整个文学史而无法抗拒的历史思想潮流。广义而言，“重写文学史”一直是文学建设者们或隐或显的文学思想诉求，或被动或自觉的文学参与姿态。它在80年代被正式赋予了学术的内涵，但却上可追溯至现代文学的源头，下可延伸至不断发展的当今文坛，既在中国古代传统文学的孕育下新生，也从世界文学，尤其是西方文学中汲取力量而发展。只有从广义和狭义两个角度认识“重写文学史”这一问题，才能以更积极的态度面对文学发展的挑战，以更客观的立场审视文学发展的调整，也才能在真正意义上实现对于中国现当代文学这一学科发生发展的理解。     

鲁迅周作人的文学语言观比较

周氏兄弟鲁迅和周作人同为＂五四＂新文化运动的主要人物,同为现代白话文写作的倡导者与优秀实践者,但周作人强调汉语的不可更张的继承性,留恋于汉语的趣味性。鲁迅认为文言文承载了太多旧有文化的＂踪迹痕＂,反对读中国书,甚至主张废除汉字。殊途同归的是：周氏二人都有面对语言的无奈甚至不信任。但最终周作人走向了自言自语的文人＂闲谈＂;鲁迅则选择与旧式文人彻底决裂,最终成为现代知识分子。     

论文学翻译中的形似

以描写和规定并重的方法 ,从语言的各个层面诸如语法、语汇和语篇着手 ,对文学翻译中形似的本质作了详尽的分析论证 ,从而得出文学翻译中贯彻适当适应和灵活对应的形似原则的必要性和可能性。并以诗歌翻译为例 ,分析了形似在文学翻译中的重要作用 ,指出形似的贯彻是延续原作艺术生命 ,实现文学翻译目的的关键