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51.
Maria Edström 《Feminist Media Studies》2018,18(1):77-93
AbstractThe 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. 相似文献
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张炳蔚 《西北大学学报(哲学社会科学版)》2001,31(1):143-147
在李白的诗歌作品中,太阳意象的出现超过了180次。这些意象涉及的内容十分丰富,有逍遥仙游,有以日像君,有依依惜别,还有对明亮光辉事物强烈憧憬和追求。太阳意象与李白的生命精神息息相关,他用自己的生命写就了一位封建士人的逐日神话。他的“宇宙境界”使他对政治理想的现实追求升华为对人生理想的终极追求。 相似文献
53.
本文从女性视角出发,通过对男性文学文本中的“天使”和“妖妇”两种女性形象的分析,揭示出男性作家通过在文学作品中塑造这两种虚假的女性形象以左右和警示现实生活中的女性,从而达到控制和支配女性的目,这正是性政治策略在男性文本中的一种具体表现。 相似文献
54.
马研 《内蒙古民族大学学报(社会科学版)》2011,37(2):55-57
笔者以文本细读和微观分析为手段,借助与黄昏、雨、鹤、兰花等几个独特意象相关的古典诗词语境对苏童小说个案性的环境描写进行惊鸿一瞥式的文意阐释,以图对苏童作品环境描写的古典性特征进行呈现和命名。 相似文献
55.
Sid Lowe 《Culture and Organization》2013,19(1):21-34
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. 相似文献
56.
Clemens Ruthner 《Cultural Studies》2013,27(6):877-883
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. 相似文献
57.
杨一铎 《广西师范学院学报(哲学社会科学版)》2014,(1):58-63
父权制下文学作品中的女性形象可以被区分为屈从、反抗及疯狂等三类。但由于其心理及人格结构的差异,“女性”和“女人”的概念也不完全等同。?白鹿原?虽然涉及到了45位女性形象,却因陈忠实不能超越其文化背景、男性视角,最终造成作品在场的大都沦为屈从、依附于父权制而丧失由自然人属性决定的人格结构中的反叛和独立精神的“女性”形象,而缺席的恰是与以心理及人格结构独立而完整为标志的“女人”的这个概念相称的人物形象。 相似文献
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朱浒 《四川大学学报(哲学社会科学版)》2022,(6):87-98
临沂吴白庄汉墓是山东地区东汉晚期画像石的代表, 其中室南壁东门楣上的图像曾被前人识别 为 “行刑图”。 通过图像分析及与考古出土实物的对比, 该图应是分别描绘了帝辛阅简、 好勇征伐、 比干死 谏、 沉湎于酒以及武王率领胡汉士兵伐纣五个场景, 故将之定名为 “武王伐纣图” 更加贴切。 此图系近年 汉画故事之新品种, 表现了汉人 “恶以诫世, 善以示后” 的道德劝诫意图, 传递出 “商周易代” 的合法 性。 同时, 作为 “道德镜鉴” 的武王伐纣图像, 与古罗马战争题材壁画传递的帝王崇拜和英雄主义有着 鲜明的区别。 相似文献