汉代乐舞风俗与汉诗

汉代乐舞风俗对本时期诗歌具有突出影响,这种影响主要表现为：汉代乐舞的娱乐功能使汉诗具有较强的趣味性,包括世俗之趣、拟人之趣、谐隐之趣、妙理之趣、逢迎之趣等;汉代歌与舞、歌与戏相结合的乐舞表演方式赋予汉诗一定的表演性,即许多汉代诗歌具有与舞蹈或百戏表演相配合的舞词或“戏”词之性质;汉人“悲歌当泣”的音乐行为方式和“以悲为乐”的歌乐欣赏风习是造成汉诗悲情美的主要原因之一。     

宋代的味论诗学与苏轼的诗味追求

味论诗学在宋代得到了长足的发展,它是宋代以味论艺总倾向的一部分。苏轼在诗歌创作实践中努力追求诗味,创作出了组诗杰作《和陶诗》。严羽、张戒等人对味论诗学都作出了自己的理论贡献。     

对马克思主义劳动价值论的研究和认识应当与时俱进 ——兼谈社会主义财富论

马克思的劳动价值论是在对工业化初期的资本主义英国进行批判分析过程中建立起来的,同我们的社会主义现实生活之间存在着严重的脱节甚至抵触.深化对马克思主义劳动价值论的研究和认识,应不拘泥于理论教条,而应当与时俱进,进行理论创新,建立符合客观实际的社会主义财富论,这不会导致对整个马克思经济学的否定.     

新时期文学理论的审美主义倾向简析

审美主义是在近现代西方出现的人生观、世界观和艺术观价值取向上的审美一元论思想 ,受其影响 ,我国新时期文学理论具有美学化倾向 ,在审美体验论、审美感性论、审美形式论、审美超越论、审美本质论等理论环节上显示出审美主义之审美一元论和感性本体论的倾向。反思新时期文学理论的审美主义局限 ,对于推进我国文学基础理论研究是非常必要的     

案例视频化：高校思想政治理论课案例教学的新进展

高校思想政治理论课教学案例视频化是指在高校思想政治理论课案例教学中以视频（如影视、动漫等）片段的形式展现教学案例。高校思想政治理论课教学案例视频化涉及的主要问题：一是取材网络,无涉侵权;二是要把握原则,精挑细选;三是观看前要准备、观看后要讨论、讨论后要点评;四是讲授时,“例”服务于“理”,不可本末倒置。     

中国经济法学说评价及其应然趋向

我国1992年以来的六大经济法学说在定义模式、主体认识、作用领域和调整目标上基本取得共识。但是,这些学说由于具有过于浓重的国家干预主义色彩和对其他法律的封闭性态度,与我国市场经济的现实要求有不符之处。它发展的应然趋势是以经济宪法与经济行政法为中心、重视经济法与民商法等其他法律的合作关系、强化对经济法实务和经济法部门法的研究。     

“Last Night,I Did a Striptease for My Husband”

Representations in popular media at the end of the twentieth century and the beginning of the twenty-first suggest that North American culture idealizes a kind of femininity constituted in erotic display while at the same time disavowing the parallel performance of that femininity in strip culture. This paper begins to consider why femininity is so insistently constituted on these terms, focusing in particular on women's advice media, self-help, and exercise programs of erotic dance as a domestic activity, and working to identify and understand the implications of that representation, for women who work as erotic dancers and for women who do not, with reference to the ways in which these two categories of femininity are constituted and maintained as separate categories through representation and to the effects of this separation for the labour of erotic dance and for the performance of femininity in the everyday. This paper undertakes to understand this complicated relationship and to determine what precisely is at stake in such representations, how to read them, and what they mean.     

Reflections on the Voluntary Self-Exclusion of Gamblers and the Law-Suits against Ontario Lottery and Gaming Corporation

Legalized gambling in Canada is governed by Provincial legislation. In Ontario, the Ontario Lottery and Gaming Corporation is responsible for all aspects of gambling in the Province. There have been a number of recent lawsuits against this Crown agency of the Government of Ontario by gamblers, most of which have been settled or otherwise resolved. A recent class-action lawsuit on behalf of thousands of Ontario gamblers against this agency raises a number of interesting questions regarding the issue of responsibility and liability. The questions surround the issue of self-exclusionary practices of gamblers who deem themselves in need of external intervention in order interesting questions regarding the issue of responsibility and liability. The questions surround the issue to abstain from further gambling. A contract is voluntarily signed by the self-excluding gamblers whereby their further attendance at gaming venues is prevented and could be punishable by law. Where the gaming venues have failed to enforce the terms of this contract, gamblers have continued to gamble at these establishments. The class-action lawsuit stems from the grievances of these self-excluded gamblers who were not turned away. Relevant psychological theories and recent findings pertaining to gambling are reviewed and questions relevant to these grievances are discussed in favor of government responsibility and liability toward gamblers.     

新世纪中国生态批评与生态美学的发展及其问题域

20世纪90年代开始,生态美学、生态文艺学、生态批评的研究迅速成为中国文论研究中广受关注的前沿和热点问题之一。在经过了萌发和草创阶段之后,目前已进入了学理的探索、丰富和深化阶段。尽管中国生态批评及其理论形态的生态文艺学、生态美学目前尚未完全发展成熟,但理论上的尝试和建设及争鸣已开启了学科建构的新视角、新观点,极大地推动了学科的发展,中国的生态批评和生态美学研究已初见规模,并必将在新世纪中国文论建设中承担起自己的责任。     

论词体诗化理论对宋词题材构成的影响

词体诗化理论是影响宋词题材构成的最直接的重要因素。与词体诗化理论发展相应,不同历史阶段的宋词题材构成也发生显著变化。这种变化在诗化派、曲词派两派理论家的创作中表现得尤为明显。