‘You Are Germany’– ‘I Am Australian’: The construction of national unity through diversity in select examples from Australia and Germany

This article explores the construction of national unity through diversity by analysing two case studies from Germany and Australia: the television campaign ‘You Are Germany’ and the song ‘I Am Australian’. It places both examples in a broader context of forging national unity through diversity and argues that diversity has occasionally been hijacked as a nationalist argument to advance national identity and unity. This study explores the different aspects of diversity appearing in both cases under study, identifies those parts of diversity being excluded and asks how national unity is being forged through recourse to diversity.     

希腊和日本神话隐喻对女性性别角色的折射

性别歧视现象在东西方文化中普遍存在,男权制根深蒂固。神话隐喻折射出女性特点,也有意无意地向世人传达了它们的主题。希腊神话中的女性显现出"真"、"美"的原生态特征,多为罪恶之源;而日本神话中的女性虽从属于男性,但两性关系更为和谐、融洽。     

苗族古歌的问答叙事

以往学术界对＂苗族古歌＂的研究重在＂外部＂,诸如叙事艺术等＂内部研究＂几为空白。该文以作者主持的国家社科基金课题《苗族古歌通解》文本为基础,运用叙事学的基本理论和方法,对苗族古歌的问答叙事形式进行了研究。文章认为问答是苗族古歌的基本叙事结构;总结了苗族古歌的五种问答叙事形式——一问一答、一问多答、多问多答、自问自答和否...     

布依族民歌对家庭手工纺织活动的表达

布依族是一个喜歌的民族,口耳相传留下来的古老民歌对自己的历史文化进行了传唱,作为布依族重要特征的家庭手工纺织活动也在民歌中得以充分体现.布依族纺织民歌记载了哪些与纺织相关的内容,传达出布依族怎样的思想情感和价值理念,如何发挥布依族纺织民歌的当代价值,是本文想表达的内容.     

理想婚姻之典范——《关雎》诗主旨辨证

《关雎》是《诗经·国风·周南》的第一篇,也是"《诗经》四始"之首,关于诗主旨历来聚讼纷纭。然就文本层面男女主人公的身份定位和文化层面礼乐制度的制约来看,《关雎》诗都体现了一种符合封建礼乐文化的有节制、有理性的男女恋情,是诗经时代理想婚姻的典范。     

壮族民间歌舞浅析

壮族是一个具有悠久历史和灿烂文化的民族,壮族的民间歌舞种类繁多,主要有民间舞蹈、民间歌曲、民间说唱、民间乐器及民间戏剧等。其中民间歌曲内容尤为丰富多彩,包括小调、叙事长歌、风俗歌、儿歌、山歌等。而风俗歌又分为春牛歌、酒歌、摇篮曲、哭嫁歌、哭丧歌、加特、拦路歌等;山歌又可分为欢、西、比、伦、高腔山歌等等。     

宋词英译美学探微——《踏莎行》《秋夜月》个案分析

文章通过对晏殊的《踏莎行》、柳永的《秋夜月》英语译文的分析,试图展现宋词所独有的感伤抒情气质,观察不同叙述视角与期待视野,体味翻译美学的魅力。     

论中国“红歌”及其蕴含的政治价值

红歌是指赞扬和歌颂革命和祖国的歌曲。红歌传唱短时间内在中国形成热潮,主要原因在于政府的强力推行、各类群体的复杂情感以及现代思想政治教育载体的多重并用。红歌的政治价值在于其思想政治教育性,红歌未来应朝着特色化、常态化和现代化方向发展。     

Voice,place and genre in popular song performance1

Earlier sociolinguistic studies have conceptualised popular song as a field of phonological variation where singers do or do not maintain features of their national or regional accents in singing. The present paper explores a wider agenda for the sociolinguistics of popular song, theorised as a diverse field of performance organised according to genre. Following initiatives in the sociology of popular music (particularly Simon Frith's research), voice is interpreted as the repertoire of meaning‐making options available to performers. Voice subsumes dialect indexicality, but also the management of singer identity and singer‐audience relations through the performance of lyrics, rhythmic and bodily modalities. Place is understood as the specific socio‐cultural contexts that are explicitly or implicitly voiced, including contexts of performance and reception. By performing within or against generically structured stylistic norms, performers construct and disseminate different vernacular values and identities. Live tracks from three different, broadly‐defined genres are considered in detail – classic rock and roll (Chuck Berry's Maybellene), folk/country (James Taylor's Copperline), and punk rock (the Sex Pistols’Johnny B. Goode).     

主题公园景观设计中的文化表达研究

以主题公园景观设计中的文化表达作为研究对象,针对主题公园的特征进行归纳与分析。总结出主题公园景观设计中要注重文化表达的主题性;注重文化表达的真实性;注重文化表达的多元性;注重文化表达的艺术性;注重文化表达的科技性等文化表达的原则。提出文化表达的显性环境意象手法;文化表达的隐性环境意象等手法。强调文化表达要以园林空间为依托,以生态观为原则;文化表达形式要具有参与性;文化表达内容要具有教育性等主题公园景观设计的文化表达方法和要求。文章对我国文化主题公园建设具有启示性作用,希望对我国文化主题公园的建设提供可借鉴依据,进一步探索适合我国国情和民情的文化主题公园建设发展之路。