陌生化写作的民间资源——再析石舒清《清水里的刀子》

《清水里的刀子》这篇小说通过叙写搭救亡人之前要宰牲的传统民间习俗，以及大牲能看到清水里的刀子的民间传说，使小说具有了丰厚的文化含量与审美意蕴，形成艺术上无穷尽的审美张力。这种艺术效果的取得，主要决定于民间文化资源作为一种他者的“陌生性”。     

中国古典小说“崇奇”审美趣味的文化意蕴——以文化诗学为视角

从文化诗学的视角探究中国古典小说"崇奇"审美情趣的文化意蕴,可以看到,中国古典小说在两个方面实施自身的文化突围,一是在创作技法上"以奇抗正",二是在审美功能上以"娱乐消遣"对抗"言志载道"。     

民族文化身分与国际意识的碰撞及调和--《一个陌生女人的来信》在当代中国的接受

茨威格的小说《一个陌生女人的来信》因中国艺人“创造性”接受而再次产生巨大反响,这在中外文化艺术交流史上具有特殊而重大的意义。在这次异质文化的深度碰撞中,中西文化的差异性更因彼此的衬托和比照鲜明地表现出来。尤为值得一提的是,异质文化在这里已作为一种“陌生化”的艺术手段或策略而显示出了其独有的功能与价值。     

More than a Theory: A New Map of Social Thought

In this article we revisit two different temporal phases related to the publication of Serge Moscovici's book La Psychanalyse, son image et son public, and we examine two key concepts of the theory: cognitive polyphasia and anchoring. The first phase, initiated by the Durkheimian circle, gives us an opportunity to retrieve traces of the intellectual debate about collective psychology and reconsider this debate in today's light. The second, more recent phase, is inspired by classical and modern research in the field of social representation, and it serves us as a basis for a new hypothesis about anchoring. We suggest that the traditional concept of familiarisation attributed to anchoring can also have an opposite significance: it can transmit and guarantee the non‐familiar and so establish strangeness. Finally, we argue that social representations are more than a simple theory, just like the symbol is always more than what it symbolizes.     

从小说的现代技法看20世纪文学思潮的发展内涵

小说的现代技法是相对于小说的传统技法而言的。小说的传统技法,如表达技巧:叙事、描写、说明、议论等;如修辞技巧:衬托(正衬、反衬、侧衬)悬念、同感等;如艺术技巧:虚实相生、动静结合、蔬密有序、曲直互补、抑扬顿挫、断续有法、隐显适度等。小说的现代技法,如意识流、黑色幽     

余华前后期小说中比喻的变异及意义

余华小说提供了20世纪中国文学中最为新奇、怪异的一批比喻,开辟了比喻新的空间和新的视野。同时,以1989年为界,他的创作也实现了从现代主义向现实主义的转型;两个时期的比喻也发生了相当大的变化。认真分析余华小说前后两期比喻的差异,一方面可以深入考察余华小说比喻使用的根本特点,另一方面,通过两个时期的比较,也可以更深入研究余华比喻创新的原因与基本理据。     

“笔墨当随时代”“怒不同人”——浅析郑板桥之“怪”

郑板桥主张“笔墨当随时代”“怒不同人”,正因为此而被当时社会的主流视之为不守墨矩,离经叛道,被冠以“怪”名。素不知其“怪”是紧随时代潮流,贴近时代脉搏的。文章在探讨板桥“怪”之因,“怪”之表现和“怪”之余响的同时,兼阐释板桥“怪”之时代意义。     

卡夫卡的文学世界

世界上向来有两种力量:一种是锋利如刀,一种是温柔似水。卡夫卡显然属于后者。他孤独胆怯处处表现出一种柔弱。不过这柔弱一旦变成一种"以柔克刚",又常常会让人有无法估量的感觉,而卡夫卡正是在文学的世界里让我们看到了他的力量。他的作品,在新奇中充满诡异,显示出一种深不见底的"幽魅",不论你如何解读,都能找到一种"神秘"而又"意犹未尽"。《城堡》是这样,《变形记》甚至包括《地洞》无不如此。它是卡夫卡生命的写真,又是他梦与现实的一种纠结。今天我们怀着无比崇敬的心情缅怀他,纪念他,或许从中能感觉到,文学就是这样,虽轻如空气,但却无时无刻不在给人以滋养。     

Reflections on Strangeness in Context: The Case of Russian–Jewish Immigrants in the Kibbutz

This article elucidates and elaborates upon the contextualized meaning of strangeness and the experience of being a stranger. Our empirical study of strangeness embarks simultaneously from the three leading theories of the stranger—as cultural reader (Schuetz 1944), as demarcator of social boundaries (Simmel 1950), and as trespasser of social categories (Bauman 1990, 1991)—and at the same time criticizes these theories for artificially divesting strangeness of social context. Our thesis about strangeness-in-context is grounded in in-depth interviews we conducted with Jewish–Russian immigrants (twenty-one university students) who have lived in kibbutzim. Our assumption is that the kibbutz as a communal home is a suitable case study to illuminate the manyfold dimensions of strangeness, as it intensifies the tension between insiders and outsiders. In explicating the immigrant's sense of strangeness we claim the local context of the kibbutz interacts with the Israeli national definition of the immigrant as a homecomer.     

苏童小说语言的陌生化

苏童小说中颠覆性的语句、怪诞不经的语词、新颖奇特的辞格,俯拾即是,无拘无束,诡谲多变,语言缠绵蕴藉,构思巧妙绝伦,给人耳目一新的感觉,余味回甘。