美国恐怖小说大师斯蒂芬·金《手机》的创作手法探析

斯蒂芬·金的小说《手机》是一部提高惊悚"段位"的艺术作品,他风格独到的创造促使惊悚小说全面升值,同时也涵盖了一些现代式创作的含量。在情景的设置中作者通过人们日常所用的手机,将科技和文学进行巧妙的结合,利用独到的创新手法塑造出一个熟悉而又陌生的科幻艺术空间。小说将重点放在了对那些再也不能平常的幸存者的刻画上,最终,随着整个故事情节慢慢落下,那些在死亡中挣扎过来的人一定能在最后寻到问题的答案。     

《厄舍屋的倒塌》之魅力所在

美国作家埃德加·艾伦·坡的短篇小说以其独特的恐怖色彩闻名于世,他的《厄舍屋的倒塌》更是成为倍受读者青睐的经典。对这个故事进行细致的文本分析就可以发现,故事中不但有天才的恐怖氛围的营造,还潜藏着人物对生命的渴望和对善与美的追求。正是这种崇高的道德诉求,使得作品拥有了持久的生命力,令读者百看不厌。品味作品中娴熟的艺术技巧和温暖的人性味道,我们将还原经典更全面的价值。     

Patriarchy and the Horror of the Monstrous Feminine

This paper compares the gender politics expressed in Ringu and The Ring, paying particular attention to specific and noteworthy distinctions and crucial underlying cultural differences that structure and shape the gender politics articulated in the two films. While highlighting the divergences in the films' narratives and examining how their depictions of female characters reveal the fundamental historical, cultural, social and ideological forces that structure Eastern and Western views of femininity, women, and their roles in society, this paper argues that although both films reflect a misogynist patriarchal perspective in their depiction of evil, violent, destructive females, it is the American remake that is ultimately more conservative and reactionary in its simplistic alignment of women, the feminine and maternity with evil and monstrosity. In comparison, the Japanese original offers a more ambiguous treatment of a key female character, the mysterious and deadly Sadako, allowing her to emerge as a potential figure of resistance against conservative patriarchy, an element that is distinctly absent in the American remake.     

Gender Monstrosity

Deadgirl (2008) is based around a group of male teens discovering and claiming ownership of a bound female zombie, using her as a sex slave. This narrative premise raises numerous tensions that are particularly amplified by using a zombie as the film's central victim. The Deadgirl is sexually passive yet monstrous, reifying the horrors associated with the female body in patriarchal discourses. She is objectified on the basis of her gender, and this has led many reviewers to dismiss the film as misogynistic torture porn. However, the conditions under which masculinity is formed here—where adolescent males become “men” by enacting sexual violence—are as problematic as the specter of the female zombie. Deadgirl is clearly horrific and provocative: in this article I seek to probe implications arising from the film's gender conflicts.     

爱伦?坡短篇小说的恐怖魅力

由于中国文化与英国文化分属两种截然不同的文化。因此,二者之间存在着很大的文化差异。而词汇作为语言的基本单位,是最明显的承载文化信息,反映人类社会文化生活的工具。因此,本文作者从词汇理性意义和文化意义的差异两大方面对词汇的跨文化差异做了一些探讨。目的在于能够从点到面,进一步探讨外语教学中文化导入的问题,并根据教学经验,采用直接解说法、融合法、交际实践法,对比分析法和测试法五种方法来进行文化教学。     

怪诞形态论纲

怪诞作为一种审美形态有三个特征一、由丑恶和滑稽两种成分融合而成,丑恶是融合的内容,滑稽是融合的形式,两者具有同体共时性.二、以极端反常化为结构方式,即用最熟悉的构成最陌生的,最美善的构成最丑恶的,最现实的构成最超现实的,最非人的构成最人体的.三、接受反应是既恐怖又好笑.     

From humor to horror: genre and narrative purpose in abortion stories on American television

A recent increase in the number of comedic films and television programs that include abortion stories has prompted a cultural conversation about whether this is an appropriate treatment for such a topic: Can abortions be funny? Are there any genres that should not include plotlines about abortion? Indeed, most prior examinations of abortion on television have focused on dramas and their impact, without explicitly exploring the ways different genres offer a range of types of stories and creative opportunities. Using a comprehensive data-set of abortion plotlines on American television, this analysis provides a historical overview of how varying genres have addressed abortion in the past, as well as closer case studies within each of five genres: drama, soap opera, horror, science fiction, and comedy. This paper provides insight into the different narrative functions of abortion stories, with consideration of how such narratives support (in)accurate and (de)stigmatizing cultural ideas about abortion.     

荒野中别样的哥特之花--《最后的莫希干人》哥特特色浅析

詹姆斯·菲里莫·库珀的代表作《最后的莫希干人》通常被认为是一部边疆罗曼史或革命历史小说,然而小说中充满了哥特色彩。分析表明,书中的洞穴和墓地是美国版本的哥特背景,而印第安人带给读者的恐惧等同于哥特小说中的恶魔和鬼魂带来的恐惧。处于陌生环境中的白人内心的不确定和不安全投射在外在的环境中,产生了深刻的恐惧效果。库珀将哥特元素与美国的经历和荒野结合起来,实现了对哥特的美国式书写,这种别样的哥特小说对库珀本人的创作和美国文学都有重要的意义。     

Libya's ‘Black’ Market Diplomacies: Opacity and Entanglement in the Face of Hope and Horror

In this essay, I explore some of the values, exchanges and economies (moral, political and libidinal) characteristic of everyday life and official diplomacies in Libya. Through a consideration of multiple sites of estrangement and their related mediation practice, the essay engages the moral alibis, entangled yet unacknowledged relations, ontological commitments and duplicitous exchanges that made ‘Gaddafi's Libya’ possible. By patiently engaging the morally ambiguous mediation practices, violence and the bodies in pain that are erased by recognizable diplomatic regimes and discourses, I interrogate both the habitual ways of thinking about and relating to Libya and the uncritical exuberance that marks the celebration of the insurrectional present. Such a diplomatic rendition of the situation in Libya raises the ethical and political stakes of our analyses of the uprising by illustrating that there is more going on in this place than the Pan-African, Orientalist and humanitarian reductionisms tell us.

En este ensayo, yo exploro algunos de los valores, intercambios y economías (morales, políticos y libidinales) característicos de la vida diaria y las diplomacias oficiales en Libia. A través de una consideración de múltiples sitios de distanciamiento y su práctica relacionada de mediación, el ensayo emplea la coartada moral, enredada aún con relaciones no reconocidas, compromisos ontológicos e intercambios engañosos que hicieron posible a la “Libia de Gadafi”. Yo interrogo tanto a las formas habituales de pensar relacionadas con Libia, como a la exuberancia acrítica que marcan la celebración del presente insurreccional, empleando pacientemente las prácticas de mediación moralmente ambiguas, violencia y cuerpos en sufrimiento, que están borrados por regímenes y discusiones diplomáticas. Tal rendición diplomática de la situación en Libia levanta la apuesta ética y política de nuestro análisis de la insurrección mediante la ilustración de que está sucediendo mucho más en este sitio que lo que nos cuenta el reduccionismo panafricano, orientalista y humanitario.

本文作者探索利比亚特有的日常生活和官方外交中的一些价值观念、相互交流和经济情况（包括道德的、政治的和本能的）。通过考察多个地方的疏远失和及与之相关的调解实践,本文引入道德缺位、混杂而未公开承认的关系、本体论义务以及双重交流这些使得“卡扎菲的利比亚”成为可能的要素。通过耐心地介入道德上模糊的调解实践,以及被可识别的外交机构与论说抹去了的暴力和肢体痛苦,作者拷问了思考和联系利比亚的习惯方式,以及标志着庆贺当前反叛的无批判的繁盛。通过详细说明实际正在发生的情况多于泛非、东方主义和人道主义还原论所告诉我们的,证明此种对利比亚局势的外交表演,提高了我们对起义进行分析的道德和政治意义。     

爱伦·坡恐怖小说的空间再现

20世纪后期,随着西方思想界发生的空间转向,空间问题成为诸多人文社会学科关注的焦点,空间叙事研究也逐渐兴起。以空间叙事学理论为基础,分析爱伦·坡恐怖小说中的地形学空间、时空体空间和文本空间,可以从一个全新的视角展现“空间”在叙事中的功能作用。