略述《格萨尔》史诗中的体育活动形式和马球运动

本文对《格萨尔》史诗中大量描写的远古游牧部落社会中藏族人民武器的制造和使用,射箭、赛马、摔跤等具有体育形态的体育活动形式,以及马球运动的产生作了探讨。认为史诗《格萨尔》的体育活动形成了原始社会末期至阶级社会早期穴约公元1-7世纪雪藏民族传统体育的主体,也反映出西藏原始部落传统体育文化的丰富内涵。     

历史地看待京剧的现状与未来

京剧是体现北京人文特色的典型艺术形式。北京京剧繁荣的历史与首都优势下的人口数量、职业结构、文化环境、生活节奏密切相关。新中国成立后 ,社会环境的巨变推进了京剧现代戏的编演。京剧的前途系于剧场观众的增长 ,业内人士有必要客观地总结以往的艺术实践 ,创作出贴近现代生活的新剧目。政府的支持也需要与艺术规律、经济规律进一步协调起来 ,以促进京剧普及与提高的结合。     

Girls’ “New Femininity” Refusals and “Good Girl” Recuperations in Soap Talk

The “new femininities” produced in postfeminist media confront girls with complex and challenging subjectivities that reach into the spaces where girls engage in their own productions of self. Feminist scholarship has interrogated and critiqued the “girl” produced in postfeminist popular culture texts, highlighting her internal contradictions and often problematic re/production within the heterosexual matrix. Yet, despite an intensified focus on girls featured in popular culture, the ways that girls themselves make sense of the “girl” in contemporary femininity texts has been relatively neglected. Viewing girls' sense-making of femininity in popular culture texts as crucial in the process of their subjectivity or self-production, in this paper we examine pre-teen girls' negotiations of femininity through their talk about Scarlett, a main teen girl character in a New Zealand soap drama. Our analyses and discussion focus on girls' management of the contradictory and regulatory productions of femininity in the text, in particular the often classed conditions under which girls recuperate the “good girl” discourse to refuse the regulatory femininities inside the heterosexual matrix. We suggest that an absence of empowering discourses outside of postfeminism's sexual empowerment limits girls' resources for critiquing and challenging regulatory femininities, “new” and “traditional.”     

Making Space for the Maid

Chinese television dramas over the past decades have seen the rise and decline of various narratives, but no other narratives speak to the emerging urban middle class's fear and anxiety more palpably than the stories of the maid. However, despite the growing popularity of the maid stories among urban viewers, most of these stories do not resonate with domestic workers themselves. How do we make sense of the growing popularity of the maid stories among urban viewers? And how do we account for the differentiated capacity to resonate and identify with the characters among viewers? These are important questions to consider if one is to understand the new cultural politics of power and social formations in post-Mao China. In this paper, I explore some of the crucial ways in which a controlling gaze is facilitated and naturalised by the visualisation of place and space in these dramas. Then, through both critical analyses and engaged ethnography, I demonstrate how two sets of controlling gaze—everyday and televisual—reinforce and justify each other. Finally, I advance the concept of “peripheral vision,” which, I show, denies the modernist “master” narrative of the city and, instead, empowers the subaltern figure with an epistemological position of “eye-witness” and anthropologist of the city.     

Ben's Grille

Summary

Advantages of computer-based alcohol education over traditional written materials in improving alcohol related behavior are presented in this article. The program, “Ben's Grille” was created to promote public awareness of issues relating to the use and abuse of alcohol The program is described in detail along with directions for use. One component of the program, an interactive drama, is the focus of this article. Characters from which a play can select to play are described. Methods used in obtaining feedback about the game are specified. The author concludes that both students and teachers have had positive reactions to the program.     

Everyday tragedy and creation: Translated from the French by Karen Isabel Ocaña

In this essay, Michel Maffesoli exalts the poetry of the everyday, and a way of being that, paradoxically, opens one up to life through rituals that smack of a quest for divine nothingness. ‘Everyday Tragedy and Creation’ traces a series of connections: between Benjamin’s particular form of empirical mysticism and the notion of messianic time, the vitalism of Nietzsche (and tangentially his rediscovery of the Greek notion of tragedy and destiny), that of Bergson with his concept of duration, as well as the sociological hermeneutics of Dilthey. In the course of his discussion, Maffesoli invokes Verlaine, Rimbaud, street theatre and Eliot, and proposes a Zen-like approach to everyday happiness. More generally, Maffesoli rejects the temporality of modernism and drama and celebrates instead the ‘non-time’ of the tragedy of living in the present within a medium of communal images and practices.     

《水浒》故事演变与农民起义

《水浒》的成书应当有一个内在的源动力 ,那就是对宋江形象改造的成功。只有宋江形象改造的成功并趋于稳定 ,他才能成为一部大书的主角 ,也才能享有“忠义”的声誉。但这个改造并非文人加工的功劳 ,也非繁本对简本增饰的产物 ,而是民间传说不断积累、铺衍后的一种选择。文人加工在宋江领袖型气质的形成上起了一定作用 ,但这又使“招安”、“征方腊”成为《水浒》成书的必然发展结果     

浅析明末清初小说戏曲中的"女扮男装"形象

明末清初,随着新的经济因素的出现及思想界的变革,作家的目光也开始转向了一向被压抑、被漠视的女性身上,写她们的爱情婚姻追求,写她们文韬武略的才干,写她们的自主意识。但是,这些女性,作家却让她们以"女扮男装"的面目出现,这不仅写出了女性要实现自己的理想,实现自己的才干,必须要从外形上改变自己,付出巨大的生理心理代价,也从另一侧面揭示了作家的创作心理。     

徐州柳琴戏的生存现状与对策

以徐州柳琴戏作为研究对象,对其生存和发展进行剖析。柳琴戏是当地文化的一种选择,同时,柳琴戏也要适应本地区文化的要求。