解读池莉小说创作的主体意识

池莉生活和创作心态朴实平和,这就形成了她独特的平民创作风格。对她创作主体意识的阐释,本文从母性意识、城市情结和真实的自我这三个方面来完成。     

魏紫姚黄——微型作家论

本文为微型作家论 ,是对 2 0世纪 90年代以来中国小说界有代表性的几位作家的点评 ,以揭示他们在 90年代文学格局中的地位 ,以及属于他们自己的风格性的特征。     

嵇康六言诗简论

本文结合嵇康的其它诗文及相关材料对其六言十首进行了梳理,认为以贤人君子理想为核心,这十首六言诗构成了一个有机的整体;它们在浓缩了嵇康的社会与人生理想的同时,也浓缩了其诗文的基本主题。     

西部民族地区旅游生态补偿政策实施的实践探索

The ethnic regions of Western Chi￣na are rich in ecological and cultural tourism re￣sources. At the same time, the regions are also ec￣ologically vulnerable areas with large populations of ethnic groups who have lived for a long time in poverty. Based on years’ investigation, it is obvi￣ous that tourism development, even though it can promote local economic development, has had a significant negative impact on the ecology, envi￣ronment and local communities. During the 18 th and 17 th National Congresses of the Communist Pary of China, a policy was announced to improve ecological compensation and accelerate the estab￣lishment of an ecological compensation mecha￣nism. So far, both government and academia have mainly focused on the effects and necessities of building a mechanism for ecological compensation. Of special concern, even if governments at all lev￣els sequentially enacted a series of policie with cer￣tain characteristics of ecological compensation, the public is still questioning the impartiality and legit￣imacy of the charges of such policy of ecological compensation. Thus, the task of implementing the ecological compensation policy faces many obsta￣cles. At present, the core research issue on eco￣logical compensation is no longer just the question of why it should be charged. This question was al￣ready clearly stated in official documents from cen￣tral government. Up to now, the core issues that need clarification are:in practice, how the charge be made; what amount of money should be charged;how will the revenue from the charge be used;how will the revenue derived from the charge be audited; and whether or not this charge can help to achieve government objectives in such a way.
Based on the unique background of the ethnic regions of Western China, this paper deeply analy￣ses issues of implementing policies such as ecologi￣cal compensation for tourism, including the illegi￣bility and legitimacy of who should pay, how much should be paid, and how to manage the funds im￣partially; and providing scientific and reasonable countermeasures to solve these practical problems. Compared with other industries, the tourism indus￣try became the pioneer for the practice of ecologi￣cal compensation as well as the research objective of ecological compensation studies. Some research￣ers defined ecological compensation for tourism as a system of regulating related ecological interests to protect the ecosystems of tourism destinations and promote sustainable development of the tourism in￣dustry ( Zhang Yiqun, Yang Guihua, 2012 ) . Al￣though such a definition is still fuzzy, at least it in￣dicates that the research of ecological compensation for tourism involves interdisciplinary fields inclu￣ding Economics, Sociology, Ecology and Tourism, etc. Currently, the research of ecological compen￣sation for tourism has insufficient first hand empiri￣cal research data. At the same time it has not yet had nationwide impact, either domestically or over￣seas. The research on implementing policies for the ecological compensation of tourism is at an early stage in China.
Obviously, it is hard to find sufficient re￣search results or research methods for reference, which brings certain limitations to this paper. To demonstrate the scope of this study, this paper de￣fined tourism ecological compensation as exploring the feasibility of spending fiscal revenue ( paid by tourism enterprises, tourists or other stakeholders) on protecting natural ecological environment. Based on this definition, this paper generated three actual issues with regard to implementing policies of ecological compensation for tourism, including the vagueness of the charge, the lack of unified, standard levies, and the non-tranparency of fund management. Combined with analyzing the current special background of implementing policies of ec￣ological compensation for tourism in the ethnic re￣gions of Western China, and by especially empha￣sizing the local communities of the ethnic groups who should be compensated, this paper tries to provide scientific and reasonable countermeasures consisting of implementing corresponding national policy, formulating correlated policy in accordance with local conditions and standardizing and institu￣tionalizing fund management. This paper not only attempts to support strongly implementing policies of ecological compensation for tourism at the insti￣tutional level, but also to coordinate the contradic￣tions between tourism development and ecological protection, and local community self - develop￣ment, hoping to achieve the win-win objectives of promoting an ecological compensation policy for tourism, tourism poverty alleviation and ecological civilization.     

贾平凹与池莉作品中女性形象之比较

贾平凹和池莉塑造的女性形象具有很大的差异性,这种差异性的出现,反映了男性本位主义立场与女性本位主义立场的矛盾。贾平凹的作品体现了很浓重的男权意识,作品中的女主人公或被男性欣赏,或依附于男性,她们无论被作者赋予怎样的性格与命运,最终都失去了自我的主体性。而池莉作为新写实派的代表人物,文学创作比较贴近现实生活,她的作品多是从女性视角出发,用自身独特的感受来描写作品中的女性人物形象,描画她们勇于同命运抗争的自主性格和自主意识。     

“自然”与“情爱”的二维变奏——迟子建小说论

迟子建的小说世界由两个基本的维度构成,一是自然,二是情爱。在自然的维度中,她的小说表露出作家的灵魂和自然精神一起脉动,并且由此可以探究迟子建思想中的“万物有灵论”元素。在此基础上,就能更深入地理解为什么迟子建作品中存在大量的神话,以及这些神话所营造的美学风格和精神内涵。在情爱的维度中,迟子建用女性特有的思维去阐释温情和爱欲,可是当她试图将艺术的笔触伸向城市生活中的这一主题时,却显示出隔膜和僵硬,这是迟子建遇到的艺术难题。     

无从回避：寻常之活与“激情”死亡——以池莉和余华为例辨析两种人生价值取向

新时期学中,以池莉和余华为代表的两种人生价值取向耐人寻求。池莉的“过日子小说”所显示的是一种寻常生活的意义,是对从前被忽视的弱势群体及其粗鄙生存权利的尊重。而余华的“激情”死亡更多地带有后现代意味,同样对建构多元化世界具有一定的意义。     

都市风景的两种色调——方方与池莉小说的诗学审视

以"新写实"著称的方方与池莉,是两位擅长以中篇体裁进行都市写作的女作家.虽说她们都对批评家总是将她们俩相提并论不以为然,但事实上,都立足于中南重镇武汉进行写作的这两位作家,她们的小说里都表现出一种对都市民众的生存关怀,在各自的文本里勾勒出一幅城市风景.尽管如此,两位作者各自的审美取向却大相径庭,而且在艺术成就上的确也不能相提并论.     

试析中国传统农业文化对苏轼文化品格的影响——从《前赤壁赋》看

文学作品是对社会生活形象反映的产物,更是作家文化品格的体现.通过对《前赤壁赋》的分析,探究了中国农业文化对苏轼文化品格的影响,指出苏轼具有的实用理性精神、"天人合一"的宇宙观念、情景交融的审美追求、"恒常"与"变易"的辩证思维等是受中国传统农业文化影响的结果,从而为阅读和欣赏古典文学作品,继承和发展民族新文化创造条件.     

“一画”新诠

石涛的一画说主要是在禅宗影响下形成的一个重要概念,一画不是道,不是线,而是法,一切具体的法则是有为法,而一画是无为法,是最高的法,至法无法,无法即法本身,石涛强调这一无为之法,意在使画家解除一切来自于传统,概念,物欲,笔墨技法等束缚,进入到一片创作的自由境界中,所以,一画的核心是要掘发人的创造力,这一创造力是人的自性的显现,而如何使这一创造灵明自在兴现,惟有通过妙悟的认识途径才能达到,石涛的一面说,不是一个关于画法的理论,而是一种侧重于建立自性本体的理论,这一自性本体可以称为创造 本体,一画可以说是一种体物方式,一种创作原则,一种创作心境,甚至可以说是一种人生境界,它比较全面地反映了石涛在画学方面的整体看法,所以他说“吾道一以贯之。”在中国画学史上,虽然也有一画,一笔画等类似的概念,但和石涛的一画说的内涵是完全不同的,一画说是石涛独创的画学概念,如果说石涛有画学理论体系,这个体系的中心概念就是一画。