带灯夜行：且行且吟的乡土悲歌——贾平凹《带灯》女主人公意象解读

贾平凹长篇新著《带灯》聚焦于“乡村病”的书写.一是基于小说结构的“出走——外来”模式,阐释其视角陌生化与间距化的审美效果;二是通过带灯书信体的心灵独白,离析出农村基层问题的驳杂性与其性格组合的矛盾性;三是经由带灯“夜游症”意象分析,解构理想者的精神苦役与政治话语的游离;四是坐实在文本的叙事策略上,剥离出叙事交流的断裂性与实效性,内中探究作者叙事声音的罅隙性在场.     

张爱玲小说结构模式的美学意蕴

张爱玲小说不仅在内容上有循环内指的特点,而且结构模式也带有一种循环美感。其作品呈现出艺术完整性,富于艺术韵律,也易于为读者所接受。张爱玲小说整体的结构模式需要用一种全知视角来加以表现,这使她笔下的人物和故事成为一种“精神样本”。用全知视角是张爱玲的“有意为之”,这种视角的选用甚至使其小说结构模式所产生的美学意蕴超出了故事情节和人物形象本身的意义。在自我反思意识的关照下,文本的意义已经超越了单纯的娱乐功能,有助于新的自我意识的生成,更有助于培养理性的读者。情节的周而复始并非原地不动,而是经过一个否定又否定的过程,其中既蕴含一种独特的美学意蕴,又对其要表达的情感内容实质上构成一种强化。     

错位、混杂、超越——流散视阈中的卡里尔·菲利普斯《渡河》研究

作为菲利普斯所有作品中最知名的一部,《渡河》不仅仅让他两次入选布莱克纪念奖,还对流散问题的探讨最为深刻,几乎囊括了菲利普斯所有流散思想的核心内容,分别是错位主题、混杂本质和超越期盼。错位是卡里尔·菲利普斯生存常态的真实写照,也是他的作品中常见的主题。从第一部小说《最后的通道》开始,菲利普斯就不断的关注流散视阈中的"错位"。而在"错位"主题的基础上,菲利普斯流散思想的本质是提倡一种独特的混杂流散观念,不计种族、民族和性别的差异,将处于流散中的所有群族考虑在内,这是一种开放的、流动的反本质主义的流散思想。而菲利普斯呼吁的是一种能够超越种族、民族和性别差异的流散观念。     

论《史记》中体现出的民间视角

《史记》和以往史书的一个很大不同就在于作者在叙事时体现出的民间视角,具体体现在三个方面:一是对个人行为的关注,二是用民间道德评价人物事件,三是"爱奇"的民间趣味。造成这种变化的原因,是和作者时代下层社会人士进入到政治决策层的社会现象密切相关。     

Boundary-Spanning

SUMMARY

A boundary-spanning approach to practice traverses barriers to give social workers greater understanding of context, more latitude in interventions, and increased access to systems. This broad-based approach helps social workers work in large, complex systems of care that demand more creativity and advocacy from practitioners in less time with less support. It draws from direct social work practice, program planning and management, social work administration, and business/organizational management. Spanned boundaries include those restricting knowledge bases and definitions of setting, those separating health from mental health, those that isolate systems of service delivery and levels and modalities of practice.     

学术语篇的人际资源简析

文章分别从传统视角、礼貌原则以及评价理论角度分析了不同语言学理论对学术语篇中人际资源运用的不同解读。通过分析人际资源在学术语篇中的作用，不难看出不管学术作者是为了维护学术语言的客观性、准确性，维护作者的面子，亦或是承认话语的多声性、学术命题可能存在的质疑和挑战，其最终目的都是为了建立学术身份，获得学术认同。     

Negotiating narratives surrounding children's mental health diagnoses: Children and their contribution to the discourse

Despite increasing numbers of children diagnosed with mental health disorders, there is limited research on how children come to understand these diagnoses in childhood. This study examines the retrospective accounts of emerging adults who were diagnosed with mental health disorders in childhood to better understand how they made sense of their diagnoses over time. In-depth, semi-structured interviews were conducted with 42 emerging adults (ages 18 to 22) who were diagnosed with attention deficit hyperactivity disorder (ADHD), depression, generalized anxiety disorder (GAD), and/or bipolar disorder in childhood. Interviews elicited participants' experiences learning about their diagnoses and suggestions for how diagnoses should best be explained to children. Findings demonstrate that participants actively sought and obtained information about their diagnoses over time. They negotiated narratives from several sources, including parents, teachers, mental health professionals, peers, siblings, the media, reading materials, and the Internet. Many of those who embraced medical accounts of their diagnoses did so as they obtained in-depth medical information over time. Meanwhile, those whose parents were open and communicative without using medical narratives suggest it is possible to share information with children without utilizing the terminology of “disorder.” Participants emphasize the importance of being open with children and providing them assurances, explaining that their problems are legitimate, common, and “not their fault.” Implications for social work practice are discussed.     

从视点角度看静态存在句中的“着”和“了”

从视点的角度看，静态存在句中的“着”类句反映的是说话人对事物存在状态静态的大纲视点模式，“了”类句反映的是说话人对事物存在状态动态的顺序视点模式。二者所反映的观察方向都是同序的视点模式，但“着”句的视点始终处于句中场景之中；而“了”句的视点首先位于句中场景，然后以回顾性的方向移至与之相对的另一场景，然后再移回到句中场景。     

宋代昭君诗类型及其解读

昭君出塞,是中国古代诗歌创作中一个长盛不衰的母题,尤其是两宋诗坛,有约百位诗人创作了大量昭君题材的作品。他们于诗人的眼光之外,更以全方位、多角度的视角,重新发掘塑造了昭君这一历史形象,寄托了诗人们鲜明的个人色彩并突破传统大胆创新。本文从人生角色、翻案出新与和战选择三个角度出发,来分析解读宋代昭君诗,同时也试图从诗歌里来管窥宋代社会、思想的几个侧面。