When ‘exile’ becomes sedentary: on the quotidian experiences of ‘India-born’ Tibetans in Dharamsala,north India

Waltraud Kokot and her coauthors stated ‘ … . despite a necessary focus on transnational networks and movement, ethnographic studies of diaspora must also not neglect the realities of sedentary diasporic life.’ Taking such a call as my point of departure, this article explores the quotidian experiences of ‘in exile’ specific to a subgroup of Tibetans in Dharamsala, north India, who have for a couple of decades at least described themselves as the ‘India-born’. Secondly, it particularly attends to the sensory domains of these Tibetans' local/Indian experiences and in turn highlights the geo-affinity that they ambivalently feel for the place where they are at once native and exilic. Demonstrated in the article are the ongoing processes through which individuals, feeling marked by the displacement of the nation to which they belong, realize their Tibetan attributes in the context(s) they in varied ways perceive as ‘Indian’.     

传统村落生活中的伦理——基于湘南宗族性村落的研究

农民的“历史感”和“当地感”从祖辈那里继受而来并赋予和寄托在子嗣身上，从而回答了个人生存的根本意义和价值，使安身立命得以保障。村落的基础伦理是农民“历史感”与“当地感”在生活层面的实践性、社会性解释和阐述，并形塑成地方性共识和规范。村落基础伦理的转换、变异乃至危机等现象的出现，根源于农民生活的价值和意义系统的变化，是农民的“历史感”与“当地感”遭遇前所未有的嬗替表现。     

论莫言小说创作的影视化倾向

莫言是中国当代小说作家中最早“触电”的，他的作品也随着电影《红高粱》的获奖而被更多的读者关注，影响日渐扩大。由此他参与改编或创作了部分影视作品，这些经历使他在小说创作中出现了影视化的倾向，诸如强调感官刺激，注重描写对象的色彩，突出读者视觉上的感受等等。莫言用文字为读者营造了一个绚丽多彩的世界。     

诗中有画:六根互用与出位之思--略论《楞严经》对宋人审美观念的影响

唐前中国传统观念是五官各司其职,大乘佛教诸经论主张"六根互用",<楞严经>对此身体哲学尤有发挥.北宋后期,以苏轼为代表的士大夫和以惠洪为代表的僧人接受了<楞严经>"六根互用"的思想,并将之运用到艺术审美活动中,形成打通艺术各媒体之间界限的"出位之思".苏轼关于王维"诗中有画"、"画中有诗"的评论,其实是首创了一种利用六根互通的原理来欣赏作品的方法.     

Olfactive frames of remembering: theorizing self,senses and society

By analysing sensorial aspects of social memory and emotions, this paper theorizes the social significance of olfaction and other senses towards reconfigurations of self and social interactions through embodied identity work. The research question that this paper addresses is: how is the self perceived through memories that are mediated by smells? Olfactive frames of remembering are employed in order to explicate sensory meta‐narratives including sensory relations (pertaining to familial and other ties), sensory memory, time and space, and sensoryscapes. This article also elucidates upon the various moral, cultural and aesthetic codes that may be discerned in biographical narrations of social actors drawn from narrative interviews. Furthermore, it highlights a need to consider sensorial‐bodily experiences in qualitative inquiry and thereby conceptualize how actors articulate their sense of self, and how they reformulate their experiences and relationships with others vis‐à‐vis emotional discourses of happiness, sadness and nostalgia in the maintenance and continuity of selfhood. The paper therefore contributes to sensuous scholarship by explicating how smells and memories operate in conjunction toward shaping self‐identity and social relations.     

汉维语味觉词语及其文化意义

虽然汉维语味觉词语所传达的是不同民族的人们在长期生活中对味觉的感知,在翻译中不会有表达的困难,可以找到合适的方法相互对译,但由于味觉词语的意义丰富,引申性比较强,在不同语言中的引申意义和表达方式也不同,汉维语味觉词语所表达的意义及其意义之间的交叉关系呈现出复杂状态。文章拟对汉维语10个味觉词语进行对比,着重展示味觉词语在汉维语中所表现出的抽象的引申词义差别和词义文化差别。     

王维“闲”“空”意趣的禅学再确认

追求“闲”、“空”之趣是中国传统自然诗的一般特征，陶渊明和王维是典范作家。但由于王维深受禅宗义理的影响，其“闲”、“空”之趣的生成方式较陶渊明还是有所不同。其一，在对自然和社会的审美观照方面，王维突玻了陶渊明“非A即B”的模式，形成了一种由“非A非B”到“即A即B”的模式。其二，在这种模式的引导下，王维诗歌也一改陶诗的“去俗”之趣，以“合俗”的姿态来对待自然和社会生活，进而表达一种“不言言”、“不物物”的真意。