Televisual pregnancy beauty

Theorizing the contours of televisual pregnancy beauty, this essay demonstrates how televisual stylistics construct and communicate a political ideology of pregnancy. When the crime dramas Bones and In Plain Sight incorporated their star actors’ pregnancies, they produced different televisually styled portrayals of pregnancy; these medium-specific portrayals play an important role in how pregnancy itself is culturally conceptualized. Although pregnancy beauty, the commodification and sexual objectification of the pregnant and postpartum body, has been analyzed in ways that link it to post-industrial, neoliberal, capitalist, and patriarchal forces, this analysis demonstrates how televisual style sets the scene for this broader discourse. Specifically, I contend that the costuming, blocking and staging, cinematography, and editing determine how the pregnant body appears, and this then communicates a clear ideology to viewing audiences. Through these two case studies, I analyze contrasting televisual styles and argue that while Bones’ style disciplines the pregnant body and In Plain Sight’s style welcomes the pregnant body, both styles enact a televisual pregnancy beauty that commodifies pregnancy.     

论鸳鸯蝴蝶派言情小说中的理性色彩

本文指出言情小说中缠绵悱恻的感性故事背后浸透着理性色彩,且在内容上含有一定程度的进步性,提倡个性解放,渗透反帝爱国情怀。     

教育与娱情:中外戏剧价值论永恒的内部角力——以曹禺剧作批评史为中心

“戏剧何为”是曹禺剧作的批评者共同关注的焦点问题之一.耐人寻味的是,在不同历史阶段,研究者们于曹剧的思想价值与艺术价值之间总是有意无意地突出一方而非等而视之——要么肯定一方而否定另一方,要么将一方视为另一方的附属产品.这一现象首先与曹禺在个人创作倾向和时代、社会要求的冲突中所生发的价值犹疑有关——作者在“教育”和“娱情”两大功能之间的摇摆直接导致了其剧作价值倾向的模糊.更进一步说,由于戏剧自身的艺术特性及其不同于其他文类的受众特征,“教育”和“娱情”之间的角力始终潜隐于古今中外戏剧价值论内部,曹剧中两大功能之间的“暗斗”恰是其具体表现之一.     

Romantic Relationships and Criminal Desistance: Pathways and Processes

In dominant theories of criminal desistance, marital relationship formation is understood to be a key “turning point” away from deviant behavior. Empirical studies supporting this claim have largely focused on the positive role of marriage in men's desistance from crime, and relatively few studies have examined the role that nonmarital relationships may play in desistance. Drawing on 138 longitudinal in‐depth interviews with 22 men and women reentering society from prison, this article extends the scope of desistance research by additionally considering the significance of more fleeting and fluid relationships, and the diverse processes through which romantic relationships of all sorts are linked with criminal behaviors. We present an empirically based typology detailing six processes, grouped within three conceptual categories, through which romantic relationships had their effects. These pathways include material circumstances, social bonds and interactions, and emotional supports and stressors. We also consider gender differences in these processes. While more tenuous bonds to marginally conventional partners would seem to exert little effect, as one of the few relationships and social roles available to many former prisoners, we found that they wielded important influence, if not always in a positive direction.     

“欲望”与“禁忌”:中国现代女性作家的“思春”叙事

"思春"叙事是中国现代女性作家表达思想感情的重要方式,她们往往不像男性作家那样消弭了自我而去追随革命,相反,她们多以一种完全有悖于男性想象的心灵独语,十分隐晦地讲述女性对于情爱问题的矛盾心态:既渴望爱情的归宿又惧怕男性的伤害,既有本能欲望的冲动又有理性节制的掌控,她们正是通过文学艺术这种含蓄达意的表现方式,向社会展示了一种为男权话语所忽视了的精神世界。     

略论古希腊戏剧的宗教性

古希腊戏剧起源于酒神狄奥尼索斯的庆祭仪式。在古希腊戏剧萌芽、产生、发展和成熟的过程中,始终受到古希腊社会、宗教环境的束缚,洋溢着浓厚的宗教色彩。从古希腊戏剧的题材、结构、情节乃至内容里,都可以找到宗教仪式的影子,所以古希腊的戏剧演出自始至终都不仅仅是一种纯娱乐的活动,而是城邦政治生活和宗教生活的一部分。     

戏剧仪式的跨界想象——基于伊瑟尔的文学人类学论述

为了回应后学的“理论终结说”与“戏剧衰退论”,伊瑟尔在文学人类学视阈下,重述虚构与想象在文本游戏中的相互作用,并且绘制其历史流变的美学图谱,进而搭建主体间性交往诗学的理论框架。伊瑟尔藉由转换问题的提问方式,达到如下双重目的：一是阐释早期接受美学所遗存之“何为戏剧”与“戏剧何为”的不解之间,二是呈现公共观演空间中身心一体的戏剧交往。     

犹太古典戏剧《领出去》初识

国内学术界迄今认为,犹太古典文学中没有真正意义上的即适合舞台演出的戏剧。然而事实并非如此。本文首次对一部犹太古典戏剧《领出去》予以评介,认为这是一部雄浑、悲壮、自豪而充满自信的历史剧,它艺术地展现了以色列人出埃及事件的历史意义;其戏剧艺术主要得益于典范的古希腊戏剧,尤其是雅典的悲剧,剧作家以西结有意识地遵循舞台演出原则,把《出埃及记》中一些无法搬上舞台的叙述性语言转换成人物独白或对话,在幕、场的设置,诗韵的运用等方面对古希腊戏剧既极力模仿又有所突破,大体做到了“犹太躯体与希腊服饰”的合一。     

多维视角下的元杂剧研究述评

20世纪元杂剧研究成就巨大,元杂剧研究更成为一门体系性的学科。关于元杂剧的研究文献相当丰富,研究者从各方面对元杂剧进行研究,如元杂剧的题材来源、元杂剧中所体现出的民俗文化、元杂剧所体现的语法、元代文人与杂剧兴盛相互关系等。总体看来,研究者研究方法的多样性和研究视角的多维性是20世纪元杂剧研究的主要特点。     

浪漫主义诗学的本土化及其艺术底蕴

中国现代浪漫主义思潮的兴起是离不开新诗的民族神话、传说写作的推动。新诗的民族神话、传说写作有力地促导了浪漫主义中国化：诗歌中主人公的主体精神以“圣贤”遮蔽着“天才”;在“人神”关系上,以“人神恋爱”的结构模式取代了西方的“人神同性”;在艺术意蕴上,“心境”释放时的激情淹没了“人性”的理性思考。因此,这种浪漫主义所表现的“神思”是非本体性的,从根本上讲这由民族根性——“神与物游”中之“游”即契合、顺应精神所决定。