于激变中求稳实之法——民国最高法院关于女子财产继承权的解释例研究

对于国民党二大《妇女运动决议案》中“女子有财产继承权”的规定,民国最高法院采取了折中的立场进行限制性解释。其所面临的两难情形揭示出了法律制度的悖论。为在动荡中达到均衡,于激变中求得稳实之法,法律职能部门应在实践中发挥调整器的作用。     

“拯救”与“背叛”--《绿化树》、《男人的一半是女人》再解读

《绿化树》与《男人的一半是女人》,以人性最基本的构成部分食、性为透视角度,对主人公知识分子章永璘在苦难、饥馑的压迫下与非人的政治炼狱中,在本能驱动下真实的灵魂波动及人性堕落、精神毁损的悲剧进行了细致剖析。在“落难”这一特殊的生命情境中,“洛神”式的人物马缨花、黄香久对他进行了灵与肉的双重拯救,可知识分子的文化优越感和精神本能,又使他在重获新生后,必然会背叛他的“洛神”,去追求更高远的境界。这有关“拯救”与“背叛”的“阴暗记忆”,再现了时代重轭之下一代人的命运图景,勾勒了中国当代“落难精英”的历史剪影。     

梦幻书写与现代女性主体的精神成长

现代女性小说的梦幻书写与传统女性梦幻书写截然不同,在一定程度上体现了现代女性主体的精神成长,是一种具有鲜明时代色彩的现代梦幻书写.这在现代女性小说对梦想的自主追求、回望往事与想象未来、对社会现实的梦幻思索等方面的梦幻书写中得到了生动的体现.     

女性的三重困境——《女勇士》的第三世界女性主义解读

运用第三世界女性主义理论分析《女勇士》中华裔美国女性同时遭受的种族压迫、性别压迫和阶级压迫,从而证明美国女性主义在分析华裔美国女性境遇时的偏颇,指出华裔美国女性在追求解放的过程中要同时反抗三重压迫。     

在“第三空间”建构文化身份:《女勇士》中文化移植和改写现象的后殖民解读

后殖民主义理论家霍米.巴巴主张运用混杂策略消解西方殖民主义者的文化霸权,提倡构建一个居间的"第三空间"。此理论对少数族裔在美国主流社会进行身份定位有着重要意义。著名美国华裔作家汤亭亭在其成名作《女勇士》中对中国传统典故的移植和改写可以认为是一种积极的写作策略,意在消解文化二元对立状态,从而建构一种"居间"的文化身份。     

Strange Bedfellows: Anachronisms,Identity Politics,and the Queer Case of Trans*

This article explores trans identities, as articulated within a few historical texts. From early literary depictions of gender difference, to medicalized conceptions of transsexualism, to a proliferation of trans and queer identities represented by an ever-expanding “alphabet soup” of identity labels, our understandings of identities, sexualities, and queer community-building continue to change. I use the notion of “kind-making,” as elaborated on in the work of Ian Hacking, to illustrate that some queer and trans identifications are affiliative, whereas others are contrastive or oppositional in nature, and these structural differences have important implications with respect to understanding identity and sexuality, and also trans inclusion within LGBT communities and activist efforts.     

Crying for Food: The Mexican Myths of ‘La Llorona’ and ‘The Hungry Woman’ in Cherríe L. Moraga

The Mexican legend of ‘La Llorona’ (‘The Weeping Woman’), who drowned her children out of revenge for being abandoned by her lover, and the Aztec creation myth of ‘The Hungry Woman’ — crying constantly for food, with mouths all around her body — have inspired Chicana writers in the symbolic representation of their own yearning, be it sexual, identity-building, or anti-patriarchal. This essay seeks to lay the mythical groundwork within this topic, as well as to illustrate with some particular examples the different reappropriations of these myths in Cherríe L. Moraga, mainly in her play The Hungry Woman: A Mexican Medea (2001). With a view to opening up a past ‘that can provide a kind of road map to our future’ (: ix), these examples of transgressive women will be deprived of the feminine colonial passivity imbued by the dominant male discourse, and analysed as a complex, active, polyvalent mythological female corpus that integrates both life and death, womb and grave. This hybrid approach is inherent to the Aztec mythology on which Moraga relies in order to transcend Manichaeistic resolutions and probe the social, political, and gender reasons leading a hungry mother to commit infanticide.     

文化产业化背景下电视剧《胡杨女人》的商品消费性特征解析

《胡杨女人》是文化产业化背景下生产的蒙古族题材电视剧。该剧得以在央视1套和8套连续4次反复播出,与其在创作方面的创新性探索不无关联,尤其突出表现为剧作的商品消费性特征明显,即注重讲故事、民俗文化参与叙事、自然景观的奇异化。该剧的成功为文化产业化时代蒙古族题材电视剧的创作提供了可供借鉴的范式。     

日翻九楼夜演孟姜--绍兴孟姜戏初探

绍兴旧抄《孟姜女》为绍兴道士孟姜班专演剧目,只限于班内相授,秘不外传。向无刻本,历来手抄,凡四十一出,现存为民国八年六月上虞县小坞村孟姜班抄本。原唱高腔,后改为乱弹。其有别于其它同题材剧目之处在于:在内容上吸收了大量佛、道二教超度亡灵的仪式,在演出上配合内坛“洪楼炼度”法事,接白天的“翻九楼”而于当晚的下半夜演出,故有“日翻九楼,夜演孟姜”之称。综观全剧,具有以幽法为载体、以超度为宗旨、与翻九楼相衔接三大特点。     

《另外那个女人》的女性形象解读

《另外那个女人》是莱辛首次将视线聚焦在伦敦市区下层女性生存状况及两性关系的读本.这部小说中从现实写实和空间意象两个维度描绘了女性柔丝的生活经历和女主人公由软弱、依赖的女性成长为坚强独立的女性的过程.从中我们也能看见莱辛作为女性作家的成长之路.