对增强新时期大学生思想政治教育理论说服力的思考

国务院《关于进一步加强和改进大学生思想政治教育的意见》科学地阐明了重视科学理论、加强理论武装对于做好新形势下大学生思想政治教育的极端重要性,明确了理论在思想政治教育中的基础性作用。探析增强大学生思想政治教育理论说服力的路径,是贯彻《意见》精神、做好新世纪新阶段大学生思想政治教育工作的必然要求。     

《沧浪诗话》与明代格调论

南宋严羽的《沧浪诗话》在以下几个方面影响了明清时期的格调理论 :1 追求“自然浑成”的诗歌审美理想 ;2 注意辨识诗歌体制、风格特点 ;3 高度重视诗歌的方法、技巧 ;4 强调灵感的作用     

What Do Grandmothers Think about Self‐esteem? American and Taiwanese Folk Theories Revisited

The study investigates European American and Taiwanese grandmothers’ folk theories of childrearing and self‐esteem, building on an earlier comparison of mothers from the same families. Adopting methods that privilege local meanings, we bring grandmothers’ voices into the conversation about childrearing, thereby contributing to a deeper understanding of intergenerational nuances in folk theories. In each cultural case, 16 grandmothers of 3‐year‐olds participated in in‐depth interviews that were customized according to local communicative norms. Although self‐esteem emerged as a central organizing concept in the folk theories of European American mothers, grandmothers spoke in two voices, either echoing their daughters or invoking a counter‐discourse of wariness towards self‐esteem. By contrast, Taiwanese mothers and grandmothers resembled one another—but differed from their American counterparts—in treating self‐esteem as peripheral in childrearing. Results contribute to the growing consensus that self‐esteem is a culture‐specific childrearing goal and suggest that the European American tendency to valorize self‐esteem varies by generation.     

古代文论"养气"说之流变

“养气”说源于儒、道哲学上的“养气”论 ,是古代文论的重要学说之一。古代文论“养气”说的发展可以分为先秦两汉、魏晋六朝、唐宋元、明清等四个历史阶段。在历史发展中 ,“养气”说形成了几种有代表性的观点 ,涉及到作家道德人格之修养、创作心态之培养、艺术才能之习练、艺术个性之发扬、人生阅历之增广等一系列重要理论问题。     

高校坚持先进文化前进方向应抓住"四个必须"

高校在贯彻落实党的十六大精神,全面建设小康社会的实践中,要做先进文化前进方向的忠实代表,必须加强对师生的理想信念教育、必须提高师生的科学文化素质、必须加强校园思想文化阵地建设、必须加强教师队伍建设.     

亚当·斯密的公路经济理论

研究了亚当.斯密公路经济理论的几个重要观点:公路的选址和规模、资金筹措、运营和征收车辆通行税等,并分析了车辆通行税管理权划归中央或地方的标准,得出建立监督机制、关注乡村公路和偏远公路有利于公路发展的结论,这对中国公路建设理论与实践有重要的借鉴作用。     

论思想政治理论课教学中知识性与思想性的统一

在新的世纪,国内外形势发生了重大的变化。在这种背景下,如何实现思想政治理论课知识性与思想性的统一,是摆在思想政治理论课教师面前的大问题,文章从思想政治理论课教师的角度对这一问题进行了阐述。     

当代科技翻译工作者职业发展的挑战和对策

近代以来,科技翻译有力推动了我国的科技发展和社会进化,在民族复兴的新征程中,科技翻译事业仍有重要意义。在当今科技进步与社会变迁对科技翻译职业带来诸多挑战的背景下,探讨了当代科技译者面临的职业难题与对策,以及科技译者应具备的专业素养。青年译者宜利用好新技术,产出更优质的成果,并调整职业规划,将翻译与专业方向相结合,成长为复合型人才,以翻译为核心竞争力胜任多种专业工作。为应对科技文献的新特点,优秀译者需具备坚实的翻译能力基础、充分的专业知识储备和基本的翻译理论素养。同时,译者还可培养编辑、写作等能力和专业敏感度、跨学科视野等综合素质,从而满足职业融合的需要。     

Culture, Cosmopolitanism, and Risk Management

Most cultural approaches to risk management deal with the connections between the forms of social relations within groups and the risk concerns of those groups. According to these theories, a certain limited set of different relational forms (usually three, four, or five) lead to specific, different and conflicting, risk concerns. In contrast to these theories, cosmopolitanism is an approach to culture that focuses, not on forms of sociality, but on changes among forms—expansions and contractions in the inclusivity of forms and movement by persons from one form of sociality to another. Relative to other cultural theories, cosmopolitanism thus is much more concerned with the solution of risk management problems than with their origins. Cosmopolitanism can be thought of as a cultural continuum, with cosmopolitanism at one end and pluralism at the other. Cosmopolitan persons are more open to cultural change—and thus the solution of risk management problems. In this article, we outline our new theory of cosmopolitanism, describe a method for measuring it and present an experimental study that tests some implications of the theory. Results from the study support the theory by showing that, compared to pluralistic respondents, cosmopolitan respondents are more inclusive in their risk management judgments—that is, they express equal concern for a local and a national issue, whereas the pluralistic respondents express greater concern in the local case. We discuss the risk management implications of a cosmopolitan approach to culture.     

当代生活与艺术之死:第二、第三和第一世界

当今所谓的艺术,主要是受20世纪七八十年代以来发展并在全球范围内扩散的美国式“艺术”观念所支配,而再也不受德语的“艺术”或法语的“美的艺术”体系所支配。自从现代主义诞生以来,艺术的历史使命的减弱或者消失已经成为事实,但从全球范围而言,“艺术的终结”这一论断仍有些夸大其词。因为在第一世界的艺术死亡之后(这里存在更多的是文化),第二和第三世界的艺术还生长着。艺术从根本上说还不是一个媒介事件和现象,而是一个同我们每个人相关的东西——不管它是不是商品。