继承与革新 批判与超越——当代英国小说和非虚构小说中的中国人形象研究述评

伴随着我国改革开放进程和大国的崛起,当代英国小说中的中国人形象塑造经历了深刻变化,传统西方霸权话语下的中国人形象正逐渐被一系列中国人新形象取代,超越了西方传统中国人形象固有的两极化模式。20世纪下半叶西方非虚构写作的兴起和繁荣也促使一些当代英国作家转向非虚构小说创作,非虚构小说中的中国人新形象书写异彩纷呈,展现出继承、批判和超越三个维度。通过结合这一书写梳理国内外学界在该领域的研究现状和动态,分析其特点和存在的问题,探讨未来研究的方向和趋势, 为构建中国特色的中国形象逻辑话语体系提供思考和借鉴。     

本真的意象与装饰性意象——魏晋南朝诗歌意象美学风貌之比较

魏晋诗人的审美趣味受玄学影响,以天然、清真、本色为美,诗歌中出现真挚、自然、简约、本真的意象。它的特点是：其一,去缘饰而得简要;其二,以本色为佳,自然为妙。南朝诗人情感世界的世俗化促使许多诗人趋向于创造感性声色动人心魄的装饰性意象。有的装饰性意象恰切地传达出生命的华美富丽和人对生命感性欢乐的无比留恋;齐梁以后,诗人着意强调外在于审美情感的妍丽、明艳、光色灿烂的语言独立的美和意象耀目眩心的感官愉悦性,意象的感性美程度不同地脱离、损伤了情感本体     

会计师：精英形象的失落与重塑——从律师制度看会计师的制度创新

会计人员与厂长、经理合谋违规执业是我国经济生活中的重大问题之一。导致这种现象的原因是多方面的 ,其中最为重要的是我国会计制度设定过程中的种种漏洞 ,因此如何堵住这些漏洞就成了我国会计制度创新过程中最为重要的课题。     

论《边城》中的洪水意象

洪水在《边城》中是一个死亡意象。老船夫在洪水中逝世意味着审美精神的死亡,从而表明《边城》叙说的是一个关于“美”的大悲剧。     

关于地理教科书图像系统偏爱的调查研究

通过对高中师生专访和问卷调查,得知其对所用教科书图像系统满意度分别是89.06%和87.5%;师生基于不同原因会偏爱不同图像系统,一是外观设计艺术性,二是版面设计整体性,三是网络应用动态性,四是内容设计差异性。     

试论关汉卿杂剧中女性的反抗意识

封建礼教几千年来桎梏、摧残着中国女性,而中国女性也一直在为寻求个性解放进行着不懈的抗争。到了元代,觉醒的女性敢于与封建礼教进行正面的不妥协地斗争;关汉卿是元代最伟大的戏曲家,他在戏剧中塑造的平民化的女性形象,非常真实、生动,受到了广泛赞誉。他对女性问题的关注,不仅仅只是单纯地悲悯女主人公的悲惨遭遇,更多的则是重视她们的觉醒与觉醒后的斗争。这些女性虽然身处社会底层,处于被侮辱被损害的地位,但是,她们敢于抗争,勇于追求个性解放、勇于斗争的壮举始终闪耀着熠熠光辉,具有广泛而深远的社会意义。     

Visibility patterns of gendered ageism in the media buzz: a study of the representation of gender and age over three decades

Abstract

The mainstream media provides a constant flow of visual images of men and women, whether it is via newscasts, billboards, magazines, or television. In media research, these different media types are usually investigated separately. The aim of this study is to analyse the accumulated gender representation of all images that we passively or actively take part in, here defined as “the media buzz.” To capture the representation of gender and age in the media buzz, this study focuses on images from one day in the most circulated media within Sweden: news, feature stories, fiction, and advertising. The empirical data is drawn from three different decades—1994, 2004, and 2014. Overall, the study indicates there to be a general male/female balance in terms of numbers. However, when turning older, both men and women become almost invisible, even though older men are more visible than older women. Older persons rarely reach the news and they are more likely to be found in advertising and feature material. The work presented here suggests that the structures of visibility and the clusters of gender-age representation in the media foster stereotyping. The media buzz not only contributes to ageism, but is also still distinctly gendered.     

魏晋南朝诗歌意象的文化透视

时间与生命意识是魏晋至刘宋时代诗歌意象的主旋律。它们集中表现在与落日、秋天和坟墓有关的意象群之中。面对落日象征的生命的短促与飞逝,建安诗人充实有限,两晋诗人企慕无限,宋代诗人融无限于有限之中。秋的意象成为诗人抒发无意识深处这种生命孤独、漂泊感的隐喻。坟墓意象既象征着生命与相对时间共同毁灭的悲剧性结局,又象征着生命融入大化运行的绝对时间之中的超然与解脱。     

CENTRAL EUROPE GOES POSTCOLONIAL: NEW APPROACHES TO THE HABSBURG EMPIRE AROUND 1900

This contribution gives a short outline of an international research project which started in Vienna in 2001, entitled ‘Power,Ethnicity and Literature in Austria-Hungary from 1867 to 1918’. This project is proposing a quasi-postcolonial view on the culture(s) of the late Habsburg monarchy and their identity construction/identity politics.     

The Cultural Shadows of Cross Cultural Research: Images of Culture

This paper argues that cross-cultural management research is dominated by a restricted structural-functionalist orthodoxy, which is a consequence of Western culture. Such research is trapped by favoured ways of thinking, metaphorically shackled within 'Plato's cave' to the wall of a realist rationalism by the webs of its own imagination. Plato's cave and other metaphors are employed to explore the limits of cross-cultural research with particular reference to understanding Chinese culture and management and to examine possible routes to a less restrictive and more pluralistic direction for future study. In particular, the dialectical change conception is identified as promising in furthering understanding of Chinese culture and management because of its consonance with Taoist philosophy. This enables exposing contradiction and paradox as legitimate in examining culture and promotes a metaphorical 'binocular' vision aimed at transcending the current monocled myopia pervasive and dominant in objectivist studies of culture and management.