青春的寂寞缥缈 爱情的憧憬轻柔——何其芳早期的象征诗

何其芳早期的创作受法国象征派和中国旧诗词的双重影响.既有象征派的特色,又有传统诗词的风味.抒写着青春的寂寞或爱情的憧憬,在缥缈轻柔的歌声里传达出一种如烟似梦的忧郁调子.     

论多元民族文化中生物形象的符号学意义

多元民族文化与生物多样性两者有着密切的联系。生物形象已渗透在少数民族的民间文学、服饰文化、民俗文化和信仰文化之中。多元民族文化源于生物多样性,并反作用于生物多样性。     

Coming out within transnational families: intimate confessions under Western eyes*

This article is about ‘coming out’ and the process of disclosure of queer migrants within their transnational families. Despite debates about the decreasing relevance of coming out in contemporary western societies, we argue that the process of coming out continues to be a central mode of belonging and identity construction for queers in the context of transnational migration. Interviews with migrants from Poland, Russia and Turkey in Germany on their coming out experiences show that people rely on a variety of boundaries, i.e. gender, class and ethnicity, to construct a desired way of life. Theoretically, these insights indicate the need to reframe post-structuralist theories on power, most prominently advanced by Pierre Bourdieu and Michel Foucault, from an intersectional perspective. The findings in this paper pinpoint to the challenges of transnational social life queer migrants are confronted with through empirical illustrations of perceptions of differences and ambiguities between immigration and emigration contexts. Furthermore, we advocate that sexuality is a crucial dimension of migration processes determining self-definition in relation to people and places, which makes their stories of coming out always also stories of ‘coming home’.     

‘In England,they don’t call you black!’ Migrating racialisations and the production of Roma difference across Europe

This article draws on long-term fieldwork among Slovak Roma migrants, identifying processes through which a haunting figure of the Roma migrant emerges across Europe, to argue for more differentiated accounts of continuing and emerging forms of racialisation. It explores how the movement of Roma (whose bodies are marked by their racialised ‘darkness’ in Slovakia) to Britain granted them a temporary escape from this modality of branding while simultaneously exposing them to different categorisations within a re-configuring classificatory matrix. The article develops the concept of ‘migrating racialisation’ in order to empirically trace how historically developed forms of racialisation in Slovakia migrate across Europe through the movement of Roma and non-Roma migrants from Eastern Europe, as well as through particular forms of knowledge circulating within transnational fields constituted not only by Roma migrants themselves but also by various institutions for ‘managing’ or ‘researching’ ‘the Roma’. This concept allows us to analyse how the recent forms of racialisation simultaneously draw on heterogenous histories and nation-state formations, social conditions and sedimented bodily dispositions, which are re-adjusted to new social conditions, discourses and emerging forms of knowledge produced about Roma migrants over the last decade in British and European contexts.     

经济学方法论的个体主义、集体主义及其超越

方法论个体主义和方法论集体主义的分歧源于社会理论中的能动性与结构问题。方法论个体主义体现了一个极端,即强调行为主体而不是社会结构,是一种试图仅用个体相关的方式处理社会结构、制度和其他总体现象的方式。方法论集体主义体现了另一个极端,强调整体结构而不是个体,认为所有个体倾向或行为能够也应当从社会的、结构的、文化的或者制度的现象中得到解释。这两个极端都有其缺陷:个体主义否定结构影响,不承认多层次系统中存在着不同的"质"层级,集体主义对改变个体的过程和机制也未给予充分的关注。而对这两者的超越与综合则包括了结构化理论、批判实在论、凡勃伦制度主义、奥地利传统的互动主义以及基于现代系统论的系统主义等。结构化理论和批判实在论试图从实体层次上分离能动性与结构,凡勃伦制度主义和互动主义试图从不同的角度解释能动性与结构之间的双向因果关系,系统主义则采用系统论的思考方式,强调不同层级和不同网络中的循环因果关系。     

黎族纹身图式的象征意义

本文从龙（蛇）纹、雷神纹、青蛙纹等多种纹身图式分析其象征意义。     

《秀拉》:毁灭与创造并存的隐喻世界

托妮.莫里森的小说《秀拉》通过对女主人公秀拉和黑人社区“底层”的描写,探讨了关于黑人女性寻求自我和黑人群体重建种族文化的话题。这一主题的表达有赖于作品中众多象征性意象的运用,着重分析这些意象的隐喻意义,并发掘莫里森文本的民族寓言特质。     

《lobenicht的塔》《社戏》:现代隐喻小说文本

本文运用比较文学的方法,对作为现代文学一代宗师鲁迅、郭沫若创作在同一个时期的《社戏》与《loben ich t的塔》进行论述,认为其分明是不可多得的寓言化之现代隐喻小说文本,创作主旨均在于热情地呼唤“真的人”和理想的人生。     

作为象征意象的"上海"

"上海"在王安忆的文学创作中有着至关重要的意义,它既是作家本人的一个背景,也兼具一定的象征含义,相当于一个有个性特点的人物,在不同的情况下呈现出不同的特征.上海在王安忆的文学创作中具有三重象征含义欲望之城和悲恸之地,母体和精神家园,苦海和繁华梦.     

数字时代的媒介互动与传统媒体的象征意义

传统媒体是一个相对的概念,只有与新媒体尤其是自媒体相对比,才具有意义;换言之,传统媒体因为新媒体的崛起而被赋予某些其原本不具备的象征意义。同样地,新媒体也是在与传统媒体的对比中凸显其独特的文化价值。在数字化时代,新媒体与传统媒体既竞争排斥又相互依存。同为大众传播媒体的新媒体与传统媒体身处相同的社会、政治、经济、文化环境,无疑面临某些共同的困惑和相似的选择;同时,作为相对比而存在的两极,新媒体和传统媒体又面临着各有差异的受众,代表着不尽一致的利益诉求,因而必然承载着不同的社会心理期待,在一些问题上又必须作出不同的选择。作为社会公共传播机器,新旧大众传播媒体除了相互印证而获得其存在的价值之外,随着人人皆媒体时代的到来,还与日益兴盛的自媒体传播构成竞争。这使数字时代的传播格局变得更为复杂微妙。如此,传统媒体便又多了一重象征意义。