《局外人》所塑造的现世西西弗

加缪的《局外人》塑造了一个现世荒诞英雄的形象，主人公莫尔索是个活在现代的西西弗，他冷眼观望人类和世界之间不可调和的分裂现实，用一种冷漠的外表坚持把有限的生命活到最多。面对注定没有意义的人生，唯一的出路是与荒诞同行，直至生命的最后一刻，这就是荒诞人的反抗。     

试论《豆棚闲话》所体现的世俗心理

《豆棚闲话》以独特的叙事结构而著称,作为一部描叙遗民思想和心理状态的话本小说集,它深刻地反映了明朝遗民对现世和历史的看法.明代遗民经历了历史巨变,于是以世俗的、冷漠的眼光看待新朝万象,并具有一种局外人的叙述姿态和矛盾心理,体现出很强的理性色彩和颠覆性.     

解读奈保尔的封笔长篇小说《魔种》

维.苏.奈保尔于2001年获得诺贝尔文学奖,对他的研究焦点是作家的文化身份、作品的多重主题,范围则是他的几部经典作品,而对他声称的封笔之作《魔种》研究很少。《魔种》中体现出双重文化背景,这与作者的经历有关,而作品中的房子和性的意象及＂局外人＂式的主人公等都能揭示作品的主题思想。     

女性主义对实证主义的挑战 —综述女性主义方法论之辩

文章梳理了自20世纪60年代第2次女性主义思潮以来，女性主义从认识论和方法论上对实证主义的挑战。这些挑战的目的不是颠覆，而是反思和重新诠释。在认识论上，女性主义的主要关注点有三：谁可以拥有知识，什么可以称为知识，以及知识是什么；在方法论上，则主要讨论了主观性与客观性，局内人与局外人，以及质性研究与量化研究等问题。     

“内部人”与“外部人”的交叉视角的研究尝试——奥斯古德与李安宅1938年在昆明高峣村

1936年李安宅在美国耶鲁大学学习期间，结识了耶鲁大学皮博蒂博物馆（Yale Peabody Museum）馆员奥斯古德（Cornelius Osgood）。两人商讨和制定了在李安宅的河北农村老家和奥斯古德在美国佛蒙特州家乡的乡村，采用“内部人”和“外部人”交叉的视角进行人类学研究的计划。1938年奥斯古德按约前往中国。由于其时正值日本侵略中国之际，原定河北的调查计划无法进行。于是两人在抗战后方——云南昆明的高峣村合作调查。25年后奥斯古德在美国出版了这次人类学调查的成果《Village Life in Old China: A Community Study of Kao Yao, Yunnan》。对于李安宅来说，高峣田野的经历以及他与奥斯古德共同制定的研究计划和思路，对其今后的学术之路产生了较大的影响，他在其后的研究中将内外交叉的研究视角和方法贯彻始终。     

鲁迅对中国传统死亡观的揭露与批判

与"未知生,焉知死"的传统思维方式相反,鲁迅的艺术活动都源于对死亡的思考,他以"阿Q"、"女孩"、"老翁"、"鲁四老爷"等艺术形象生动地概括了鬼神迷信型、美好幻想型、懦弱逃避型和冷酷残忍型等中国传统死亡观的四种类型,并以置身于死亡之外的"看客"形象深刻地总结了这一死亡观的本质特性,从而完成了对传统死亡观的彻底揭露与批判。     

Mother Died Today or Maybe Yesterday: Reflections of L'etranger on Team‐Based Forms of Work Organization

One of the most enduring images of late twentieth‐century popular culture was the individualist and iconoclastic portrayal of the ‘grumpy old man’ Victor Meldrew in the BBC television series One Foot in the Grave. Richard Wilson's portrayal of the recently retired security worker is the antithesis of everything that contemporary organizations require from the idealized vision of employee as ‘team‐player’. As one who revels in the way that the epitaph ‘Victor’ is thrown at me at regular intervals both by my partner and children, at times when I think I am behaving normally, I thought it would be interesting for me to reflect, in public, on my relationship to contemporary workplace relations. It is my contention that Meldrew's characterization is not wholly based around the age dimension but is equally based upon his portrayal as an individual ill at ease with the mores of gregariousness. The essay therefore is a self‐reflective piece in which the author places himself in a particular milieu—that of L'etranger and uses this ‘placing’ in order to discuss the relationship between what he defines as ‘the outsider’ and the issue of age discrimination in contemporary blue‐collar environments. It is suggested that whilst the outsider or L'etranger is accepted under certain conditions within the managerial labour process this same level of organizational tolerance is not afforded to older workers within blue‐collar areas. It moves from a reflective, even autodidactic exploration of the relationship between the author and cultural articulations of L'etranger and uses this to inform an analysis of the acceptance of L'etranger within some aspects of the managerial labour within team based manufacturing units. In exploring these issues the essay then attempts to develop a third narrative in terms of now L'etranger, approaching the age of retirement fits in to the new academic labour process.     

论《局外人》的理想主义情怀

该文拟从三个方面分析《局外人》的理想主义情怀。第一个层面解读小说主人公默而索在情感方面﹑信仰方面以及在法庭被审判过程中所表现出来的荒诞,揭示其蕴含的诗意;第二个层面比较《局外人》与《边城》的理想主义倾向,通过对《边城》理想主义倾向的论述来说明《局外人》与其不同的理想主义表达;第三个层面分析《局外人》的哲学意蕴,以此来证明其理想化的追求。