浅析才子佳人小说--以《玉娇梨》为例

在众多的学者眼中，清代才子佳人小说可谓是“千人一面，千部一腔。”这种“千部一腔”的小说在其结局上体现便是“大团圆”。在众多学者批判的眼睛里，似乎“大团圆”毫无实际的现实价值。但是在明清小说领域却是不可忽略的。如果没有它们，那么明清小说如同是一棵只有主干而没有枝叶的大树。纵使主干如何粗壮、壮硕，它也称不上枝繁叶茂。《玉娇梨》便是这众多枝叶中的一隅。     

“Whose Side Are We On?” Revisited: Narrative Power,Narrative Inequality,and a Politics of Narrative Humanity

In 1967, Howard S. Becker gave a widely discussed and polemical presidential address entitled “Whose Side Are We On?” Here he introduced the idea of the hierarchy of credibility. Briefly reviewing the article, I suggest a little of how the world has moved on since then. The core of my analysis links symbolic interactionism to ideas of narrative power, narrative inequality, and narrative othering, sketching out a frame of generic forms of narrative power: domination, exclusion, negotiation, and resistance. I stress the dynamics of the subordinated standpoint and narrative othering. Drawing from a wide range of empirical examples where these processes are featured, I suggest many of us tacitly work with such ideas in our studies. I end by returning to Becker's question—Whose side are we on?—and answer: the side of humanity. Just what we mean by humanity raises contentious value claims, especially in these posthuman times. But understanding our humanities and the value challenge they pose provides the necessary prerequisite for answering Becker's question. From this, political action can flow, and a politics of humanity can be cultivated.     

对李光洙情爱小说的精神分析解读

李光洙在韩国新文学50年历史上是“最具有行动，最彷徨”、“拥有读者最多．给予感动和影响最深的作家”，在文学史上占有举足轻重的地位，但是他复杂的精神结构至今仍具备可以多方位考察的客观情态。借用精神分析学可以深入李光洙的无意识世界，探究他的幻想、欲望及其背后的秘密等，由此接近真实的李光洙。     

汉族与畲族人兽婚恋故事比较研究

汉族和少数民族都有人兽婚恋故事的存在，这是因为这些民族同根同源，有着密切的血缘关系。各民族又有着自己独特的风格，虽然有着相同类型的故事，但是受本民族思想的影响，对这些故事又有着欣然不同的观念。人兽婚恋故事就是其中比较典型的代表。     

迷雾中的恐惧——重读格非的《敌人》

格非的《敌人》,精巧地编织故事,并以其特有的叙事方式构筑了一个巨大的叙述怪圈,整个阅读过程就如进入情节的重复和空缺所构成的一个故事的迷宫,而同时在这些故事的谜语里面又进行着对历史真相和人性本相的追问和质疑,由此对历史的真相进行解读释疑,诉求人性的回归。     

试论电视现场新闻的故事化

“故事化”的电视现场新闻因其适应受众心理需求而能较好地赢得市场认同，同时，因其综合体现了新闻的现场性、故事的情节性、人物的形象性和电视手法的独特性而具有强大的生命力，但在新闻实践中也出现了有违真实性原则、迎合低俗化趣味、滥用接近性要素等不良倾向。     

In Defense of Socialized Procedures

Teachers of history (like all teachers) have a tool kit that holds all their methods and techniques and that allows them to construct a proper history lesson. This article proposes putting a tool into this kit that is generally missing from its contents. This tool supposedly belongs to the tool kit of a different subject teacher: the teacher of literature. It proposes that history teachers adopt theories and practices from the realm of literature studies and add them to their toolboxes. These will help them to tell interesting history stories in the classroom if they so choose. The article offers two stories, one written by a historian, and the second, told by a historian in class. The two historical stories are analyzed to reveal a range of literary techniques that were enlisted by their authors to create interest among their readers or listeners.     

?按粵疏稿?作者田生金考

自?按粵疏稿?(包括?柱下芻言?)被學者從圖書館故紙堆中翻出來後，受到不少研究廣東地方史、澳門史、中外交通史，甚至明史專家所關注。但是，有關其作者田生金的資料，却一直是一個空白。有猜測其為山東泰和人者，有以為即田鐸者；至於?按粵疏稿?一書的版本情況、刊刻時間等，因資料匱乏，亦無深入討論。文章廣泛搜羅和爬梳相關史料，力求從零散殘存之蠹葉片羽中，勾稽出田氏的生平大略。     

东西方文学中“人变驴”故事的类型

运用母题、类型比较方法，从比较古罗马小说《金驴记》和唐人传奇《板桥三娘子》人手，追溯“人变驴”故事类型的流变与发展，分析人变驴故事类型在东方和西方的不同文化背景，比较其异同。     

论当代言情小说中强权的寡母形象——以《我是一片云》为中心

当代言情小说中寡母总是爱滥用母权,干涉和压制儿子的婚恋选择。寡母强权主要源自三个方面的影响。一是原始社会母亲崇拜的情结,二是儒家孝文化赋予母亲的权力,最后是心理原因。总体而言,到了20世纪90年代之后,寡母在当代言情小说中渐渐淡出,孝的绝对权威被消解是寡母淡出的重要原因,传统孝道思想的长者本位立场是强权寡母仍然存在的原因。寡母扮演的就是爱情磨难的制造者,是男女爱情中一极重要的力量。