论《弗朗西斯·麦康伯短暂的幸福生活》的叙述与描写

在海明威的短篇小说中,《弗朗西斯·麦康伯短暂的幸福生活》的叙述艺术别具一格,具有极大的艺术魅力。就其叙述方式说,横断面写法、围绕主题选择时间切点、张弛有致的节奏、悬念丛生的结局,显示了海明威构思的精巧。就其描写方式说,神态描写、语言描写,特别是肖像描写、心理描写,显示了海明威描写的传神。这些精巧的构思与传神的描写构成了小说的结构艺术特色。     

Long and happy living: Trends and patterns of happy life expectancy in the U.S., 1970–2000

This study assesses the trends and differentials in length of quality life in the U.S. population as measured by happy life expectancy in 1970, 1980, 1990, and 2000. The analysis combines age-specific prevalence rates of subjective well-being from a large nationally representative survey and life table estimates of mortality in decennial Census years. Employing the period prevalence-rate life table method—Sullivan method, the analysis finds evidence for improvement in quality of life in the U.S. Happy life expectancy largely increased in both absolute terms (number of years) and relative terms (proportion of life) over time at all adult ages examined. And increases in total life expectancy were mainly contributed by increases in expectancy in happy years rather than unhappy years. Happy life expectancy is longer than active life expectancy. And there has been greater compression of unhappiness than compression of morbidity. There are substantial differentials in happy life expectancy by sex and race because of differential prevalence rates of happiness. Women and whites had longer years of total and happy life expectancies at most ages and dates, while men and blacks had greater proportions of happy life expectancies across the three decades. Although race differentials generally decreased at older ages and with time, relative disadvantages of blacks persisted.     

Troubling the ‘Happy Family’: US Liberalism and Narratives of Transnational Adoption and Immigration from China

This essay connects adoption and immigration from China by considering the relationship between the adoptee and the Chinese nanny hired to care for her. I examine news media alongside Wendy Lee’s 2008 novel, Happy Family, which portrays the adoptive family through the perspective of a Fujianese immigrant domestic worker. Transnational adoption from China emerged in the early 1990s as undocumented immigration from the Fujian province rose, representing a major shift in Chinese immigration. These practices have been apprehended divergently in mainstream discourses. This essay approaches the family as a site of neoliberal privatization that frames adoption in terms of inclusion into US national ideologies of race, gender, and class, while undocumented immigration from China has been framed through exclusion. I argue that the nanny destabilizes the construction of the family as a space of depoliticized inclusion through her labor, revealing the neoliberal inequalities that shape both adoption and immigration.     

快乐经济学视角下的旅游体验研究

旅游体验研究是旅游研究领域中具有重要理论价值和实践意义的课题之一。快乐经济学研究取得的成果对旅游学理论研究和旅游产业发展都有着重要的借鉴价值。从快乐经济学视角来探讨旅游体验当中旅游快乐体验问题,目的是进一步准确把握旅游快乐体验的内涵、性质和价值。     

清醒的梦呓 生存的悖论——试论《美好的日子》中温妮的人物形象

贝克特的代表剧作之一《美好的日子》中的主要人物温妮因为自己的清醒或作为人的存在的自我意识,竭力从荒诞的世界中寻求本不存在的秩序,从终极的虚无中寻求本不存在的人生意义,从人类终极的异化和孤独中寻求本不存在的结合。她的形象集中体现了现代人的生存悖论,从深层次上揭示了人类本体意义上的生存状态。     

濒危人文微观法与基诺族神秘型诞礼

作者从民族学资源污染现象谈到民族人文资源危机,进而在无文字基诺族人文遗产的救护中创用了濒危人文微观法,并举例论证了异于文明时代喜庆型诞礼的神秘型诞礼的存在。基诺族原生神秘型诞礼具有鲜明的人文个性,也是对人类文明共性的一种丰富。     

广州天河区在幸福社区建设中的策略

为创建“幸福社区”,广州市天河区首次邀请第三方对全区居民展开问卷调查进行“社区诊断”,分析各类居民对社区管理服务的需求,全面推进街道家庭综合服务中心建设和制定有针对、可操作的“五个一”平台建设。这种“软硬并举”的“天河模式”策略,为探索区县幸福社会建设提供了宝贵的经验。     

文学与日常生活的辩证想象——论鲁迅小说对日常生活的书写

日常生活既是现代性的一个重要表征,又是启蒙运动的产物。文学对现代日常生活的表现同时也是与现代性话语或顺从或反抗的对话。无论是对现代性的思考与回应,还是对现代日常生活的批判与拯救,文学都以一种独特的话语彰显出日常生活的辩证蕴涵。鲁迅在《端午节》、《幸福的家庭》和《伤逝》中既揭示出日常生活的平庸及现代知识分子深陷其中的困境,同时又展现了他们试图围绕现代日常生活所作的种种抵抗与超越,即构成了一个栩栩如生的辩证形式。     

三子赋道——论《逍遥游》兼议陈鼓应之《道家的人文精神》

逍遥者,休也,无何有也,不执一切是非,直至无语。其亦学,学会休却,学会损去,直至休无所休,损无所损,由＂有所待＂而＂恶乎待＂,心自回归无为本初,于是,绝学无忧。所谓的得意忘形,所谓的为为不为,学为不学。其亦积,为休却损去之积,为心灵的宽大再宽大乃至无限宽大之积。可见,真道非由空中楼阁,说有而有。＂求道有可必＂,必如鱼而鲲而鹏,必如宋荣子之不曾入流至列子之入流但不全了了,再至庄子之为道了了而逍遥游,其学其积何其艰巨而高邈。而更实际地说,求道者,求捐势削迹,再求寥已吾志,直至求无所求。以此无蓬而广漠之心,兼怀万物,和天下,为逍遥游。因而,道之学、道之积,迥于俗之学、俗之积。而陈鼓应先生的主要问题是以俗之智去解读脱俗之智,＂小知不及大知＂,于是,并不了了。     

浅析才子佳人小说--以《玉娇梨》为例

在众多的学者眼中，清代才子佳人小说可谓是“千人一面，千部一腔。”这种“千部一腔”的小说在其结局上体现便是“大团圆”。在众多学者批判的眼睛里，似乎“大团圆”毫无实际的现实价值。但是在明清小说领域却是不可忽略的。如果没有它们，那么明清小说如同是一棵只有主干而没有枝叶的大树。纵使主干如何粗壮、壮硕，它也称不上枝繁叶茂。《玉娇梨》便是这众多枝叶中的一隅。