自欺·处境·自由 ——《玻璃动物园》中劳拉命运的存在主义解读

在田纳西·威廉斯的成名剧作《玻璃动物园》中,女主人公劳拉在剧终没有收获圆满的爱情,由此为她的命运蒙上了悲剧性的面纱。威廉斯曾在他的自传中表露出对萨特存在主义哲学深深地着迷,基于萨特对三个哲学概念——自欺、处境、自由的定义,探讨劳拉人物命运的存在主义特征,以此来重审劳拉的命运,从理论上对思考她在全剧中成长历程的完满性、人物命运的喜剧性具有重要意义。     

破碎的彩虹所折射出的人类灵魂之光——《玻璃动物园》中的人物形象探析

《玻璃动物园》是田纳西·威廉斯的代表作之一,它主要描写了在美国经济萧条的时期,一个普通的家庭——温菲尔德一家人所爆发出的个人内心矛盾。作者旨在通过描写小人物不幸的日常生活来揭示重大的社会问题,温菲尔德一家人的痛苦生活是美国大萧条时期所有中下层人民悲剧生活的缩影。以同情20世纪30年代的美国社会混乱和腐败中所表现的那种模糊的或扭曲的精神世界而结束,呼吁人们,＂无论现实生活多么残酷,人的内心都需要‘闪电’＂。     

All on board? New evidence on board gender diversity from a large panel of European firms

Using a unique database of over 20 million firms over two decades, we examine industry sector and national institution drivers of the prevalence of women directors on supervisory and management boards in both public and private firms across 41 advanced and emerging European economies. We demonstrate that gender board diversity has generally increased, yet women remain rare in both boards of firms in Europe: approximately 70% have no women directors on their supervisory boards, and 60% have no women directors on management boards. We leverage institutional and resource dependency theoretical frameworks to demonstrate that few systematic factors are associated with greater gender diversity for both supervisory and management boards among both private and public firms: the same factor may exhibit a positive correlation to a management board, and a negative correlation to a supervisory board, or vice versa. We interpret these findings as evidence that country-level gender equality and cultural institutions exhibit differentiated correlations with the presence of women directors in management and supervisory boards. We also find little evidence that sector-level competition and innovativeness are systematically associated with the presence of women on either board in either group of firms.     

暴力狂欢下的成长记忆——论叶兆言小说《没有玻璃的花房》

叶兆言的《没有玻璃的花房》是一篇非常典型的以“文革”为背景的成长小说,作品叙述了戏剧学校大院里的孩子木木从少年到青年的成长历程。小说巧妙地采用儿童视角的叙事策略,表现了人性启蒙的叙事主题,在叙事语言上呈现出暴力狂欢的美学特点。     

外语习得与母语能力——从潘文国《母语能力是外语能力的天花板》一文说起

母语能力既是外语习得的基础,也制约着外语能力的提高。在通常情况下,要学好外语,首先要把母语学好,“起跑线”并非学好外语的关键。我国非理性“外语热”与“母语冷”问题同时存在,互相联系,应引起高度重视。外语教育的时间与范围应注意适度,母语教育的“失位”现象必须予以纠正。     

简评美国《格拉斯-斯蒂格尔法案》的兴废与金融体制的变迁

本文以美国《格拉斯 -斯蒂格尔法案》的兴废为线索 ,简要介绍了 2 0世纪美国金融业由分离制向综合制转变的历史进程及相关的金融立法的背景 ,同时说明了对我国金融体制改革的借鉴意义     

略论白朴的杂剧《墙头马上》－－兼论杂剧与其故事所本白居易诗《井底引银瓶》两者题旨之优劣

白朴的《墙头马上》,是元杂剧中的一部喜剧杰作。剧本所塑造的女主人公李千金,以其襟怀磊落、率真泼辣、有着强烈的自主意识和独立人格而更具巾帼须眉的刚烈和豪气,从而显得卓尔不群,展示了她"这一个"典型人物的独特性格风采。为了追求幸福的爱情生活,她无视、蔑视封建伦理教条,毅然为所爱的人儿"舍了自己",献出了贞操。对此她无怨无悔,并且怒斥封建家长的虚伪残忍,抗声力辩为了挣脱礼教枷锁、赢得自主婚姻的权利而"私奔"的合理性,这就对剧本据之进行再创造的白居易的新乐府诗《井底引银瓶》的"止奔"主题,作出了革命性的反拨和提升。     

The myth of the glass ceiling: Evidence from a stock-flow analysis of authority attainment

It is apparent to even a casual observer of American society that women and minorities are underrepresented among managers, especially among top-level executives. Past studies, however, have failed to find a consistent pattern of female and minority disadvantages in actual promotions and hiring decisions to account for this underrepresentation. This study aims to resolve this incongruity. Drawing on panel data from a nationally representative sample of scientists and engineers, I analyzed transitions across authority levels for men and women of three broad racial groups: whites, Asian Americans, and underrepresented minorities. There are two main findings. First, downward mobility plays an important role in authority inequality, especially for Asian men and underrepresented minority men and women. Second, while women and minorities face lower rates of upward mobility than white men, their disadvantages are concentrated in the bottom to middle-level transitions. This pattern is inconsistent with the popular notion of a “glass ceiling,” which implies that women and minorities encounter an unbreakable obstacle in accessing top positions after they have made their way into mid-level management.     

荒诞中的真实：唐纳德·巴塞尔姆《玻璃山》后现代主义解读

唐纳德·巴塞尔姆是美国最重要的后现代主义作家之一,他的短篇小说《玻璃山》是在看似荒谬的表象下反映了后现代社会真实现实的本质。     

碎片的世界——析《玻璃山》的后现代主义特征

巴塞尔姆是后现代主义作家中举足轻重的人物,在《玻璃山》中体现出其作品的后现代主义特征。他运用非线性、反体裁、拼贴画等手段在语言上进行大胆的革新,以碎片的形式、元小说的特点刻画了碎片的主题,从而创造了一个碎片式的世界。