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1.
丁玲 《考试周刊》2011,(82):35-36
李清照的诗词里透射着凄冷到极致的美,黄昏的疏雨,云中的雁阵,湖上的兰舟,西楼的明月,水上的落花,仿佛所有的山川风物,花鸟鱼虫,都能在她的点化下化为忧柔凄美月亮般明亮的千古绝响。而对李清照的解读与研究,岂能"一个愁字了得"。其实,李清照在写"寻寻觅觅,冷冷清清,凄凄惨惨戚戚"时,也曾经拥有欢乐,更多的是悲情。而她的人生是戏剧的,可以概括为"悲"与"酒",她的词正是她"悲酒"人生的体现。  相似文献   

2.
一直以来,评论界都把白先勇小说《永远的尹雪艳》中的主人公尹雪艳看成"幽灵"、"死神"或是"精灵",但透过小说文字的表层我们会发现,她不是能够把人们推向死亡的"幽灵"、"死神",也不是迷人的"精灵",尹雪艳有着难言的苦楚和悲惨的命运。本文试图从这一个角度去解读尹雪艳,发现她既作为尘世中的一名女性又作为一个弱者的悲哀与痛楚。  相似文献   

3.
从女性主义视角分析赛珍珠最具代表性的小说《大地》的女主角阿兰,重新审视与阿兰相关的情节,解读阿兰这一人物所带有的女性意识。阿兰并非具有反抗男权制的意识,她并没有从沉默顺从走向觉醒成熟,她没有把自己看成主体,她丧失了自我意识,成为"他者",她的一切行为都来自于将自己置于"他者"地位的意识,至死都未改变。  相似文献   

4.
杨绛先生的散文《老王》,是高中语文教材"必修三"教读课文。教这篇课文时,我一直在想,杨先生因什么而对老王感到愧疚?仅仅因为她是一个"幸运的人"而老王是个"不幸的人"?每个读者都试图解读杨先生的这份情感。笔者觉得杨绛先生写作《老王》之前,应该曾多次回顾自己与老王交往的点滴。几年之后,她觉察到了自己感到愧疚的原因,这就是:她没有真正地理解老王的内心需求,因而在他们之间的交往中,他对她、她对他付出的情感是不平衡的。情感的天平在老王那头重,在自己这头轻。下面试从几个方面来剖析。  相似文献   

5.
美国女诗人希尔达.杜利特尔以"意象派诗人H.D."之名步入诗坛。她从女性作家与众不同的独特视角出发,颠覆了被男权社会歪曲和篡改的古希腊神话,对当中经典的"海伦"形象进行重新解读和塑造,借以证明语言是父权社会用来钳制女性的工具,但同时也是女性可籍以反击的武器,而她的最终愿景,则是创造一个女性的神话世界。  相似文献   

6.
池莉的小说创作一直关注着小人物在现实生活中的"烦恼人生",她以自己独特的女性视角,结合自己的生命体验和生活态度,书写着现实生活的原生态。《她的城》中对人生的感悟主要通过解读女性关系,以及探讨婚姻关系的真相来充分表现。  相似文献   

7.
张爱玲新近出土的《雷峰塔》、《易经》延续了其一贯的家庭叙述。而这两部作品所叙述的内容,几乎在她早期的作品中都有所涉猎。她不断重复书写的动机何在?通过对其生平梳理和文本解读,可归纳为以下几点:消解家族在"族谱"意义上的崇高以及在"血缘"意义上的温情;从个人潜在的心理因素上来说,这种书写还是一种"复仇",向曾带给她身心伤害的整个家族的"报复";从弗洛伊德精神分析理论来看,又包含了以此来减轻自己童年的痛苦以及找寻自己存在的意义两方面的动机;以及期待打开美国市场,书写旧日"传奇";缓解写作焦虑,寻找写作灵感。  相似文献   

8.
巴巴拉·贝恩顿是19世纪末20世纪初澳大利亚民族主义运动高峰时期最有作为的妇女作家,她的作品发出了与当时以劳森和佩特森为首的男性文学主流截然不同的声音,这主要体现在她对丛林妇女生活的关注上。本文通过探讨贝恩顿长篇小说《人类的代价》中的母性主题,从而解读贝恩顿对以"伙伴情谊"为精髓的丛林男性神话的解构。  相似文献   

9.
伊迪丝.华顿(公元1862-公元1937)是19世纪末20世纪初美国著名的女作家之一,她的大部分作品都是以她出生,成长的"老纽约"为创作背景。在《纯真年代》里华顿以其独特的视角,描写了一个"新鲜又独特"的老纽约社会,并揭示了美国上流社会在商品经济冲击下的道德危机,以及他们为自己的保守和虚伪所付出的沉重代价。文章旨在用亚里士多德的悲剧理论来解读其代表作《纯真年代》里主人公的悲剧性命运。  相似文献   

10.
【编辑视角】阅读教学是语文教学的重要组成部分,文本解读是阅读教学的关键。随着本体论阐释学、接受美学、文本学和读者反应理论的兴起与发展,当代文本解读观正在发生变革。摒弃过去只注重"作家—作品"的解读模式,把文本解读的重心转向文本—读者,视读者的解读为文本的本体存在,把解读活动作为文本构成不可或缺的本体层次。由此诞生了各种各样的文本解读提法,比如"文本素读"、"文本细读"、"本色阅读",不一而足。本期选刊三篇文本阅读的文章,以激起大家对"文本阅读"的讨论。  相似文献   

11.
Ophelia was not considered a significant figure until the feminist criticisms. Although different critics have different comments on her from different perspectives, this article focuses on how feminist criticism should represent Ophelia in its discourse and how the role of Ophelia was performed in the play Hamlet.  相似文献   

12.
本文认为哈姆雷特的忧郁、优柔寡断,以及缺乏行动的果断力是他女性气质的体现。根据荣格的原形分析理论中的阿尼玛理论可得出与哈姆雷特相恋,并同样遭遇丧父以及疯癔的奥菲利亚与哈姆雷特形成并置。这一充满女性象征意义的形象是哈姆雷特女性气质的投射,即哈姆雷特个性中的阿尼玛。因此,奥菲利亚之死即象征着哈姆雷特个性中女性气质的消亡,从而使其得以恢复男性的阳刚之气成功复仇。  相似文献   

13.
重新梳理哈姆雷特的情感,可以使我们在理解莎士比亚的不朽剧作《哈姆雷特》时有新的视角和新的发现:1.哈姆雷特在情感上更多的是对父亲的依恋,这种依恋正反映出文艺复兴时期人们的普遍意愿,体现出强烈的时代性;2.哈姆雷特对母亲的情感爱恨交加,并非恋母情结,而是原罪意识;3.哈姆雷特对奥菲利娅复杂多变的情感使人物性格异彩纷呈。  相似文献   

14.
《哈姆莱特》中的女性形象一直受到了大家的普遍关注,特别是她们与主人公哈姆莱特之间的关系。剧中乔特鲁德对哈姆莱特女性观的转变产生了重要的影响,使她产生了厌女情节。而正是由于哈姆莱特女性观的转变,导致他对爱人奥菲利娅的态度也发生了改变,这一系列的变化对奥菲利娅的生活产生了重要影响,并最终导致了她的死亡。  相似文献   

15.
This paper is an attempt to stage some questions concerning methodology and education, inspired by Ophelia in Shakespeare's Hamlet and by Jacques Derrida's poetic philosophical oeuvres. What are at stake are the long traditions of preferences of sanity over madness, friend over enemy, male over female and of clean, unambiguous univocal language over the poetic. I will argue that educators will have an extra responsibility towards challenging the ancient tradition of phallogocentrism, both in our teaching and in our research.  相似文献   

16.
在中国现代文学史上 ,不能说张爱玲是伟大的 ,却可以说张爱玲是深刻的 ;不能说张爱玲是最重要的小说家 ,却可以说她是最具有西方现代精神特征的小说家。张爱玲选择苍凉这一审美基调来感悟人生、阐释生命 ,充分显示了她对生命意义的深刻怀疑 ,在此意义上 ,张爱玲构建起了一种不同于传统的而是现代的属于人的生存意义上的悲剧观。因此 ,苍凉所显示出的是悲剧的现代品格。  相似文献   

17.
A doula and expectant mother's view of birth is forever changed when she sees a midwife simply place a newly born child below her mother at the moment of birth. The pause that the mother experiences in this moment as she studies, touches, and claims her child prompts the author to reflect in this guest editorial on ways we might be disturbing the natural sequence of birth as we deliver babies directly to their mothers' chests.  相似文献   

18.
Genre theory has been around for a long time now. The exchange between Michael Rosen and Frances Christie recently featured in Changing English is the latest in a series of exchanges between advocates of genre and their critics over the past three decades or so. Our aim in this response-essay is not to weigh up the merits of the cases made by Rosen and Christie. Rather, we want to think about how individual teachers might confront the hegemony of genre theory and the harmful effects we believe it is having on language education. Our starting point is Lisa’s own professional practice, as she enacts it from day to day at a state secondary school in the south-eastern suburbs of Melbourne, one of the most ethnically diverse regions in Australia. We draw on Lisa’s journal to construct a sense of the time and place, as well as samples of students’ writing that she gathered in the course of a year with her Year 7 class, in order to gain a better understanding of her work as an English teacher. How does this material compare with ‘all the genre work done over some 25–30?years’ by the genre theorists? What ‘knowledge’ will she be able to construct on the basis of the classroom observations that she made over that time? What should we make of the fact that her world is not the same as the world as genre theorists conceive it?  相似文献   

19.
This study examined the effectiveness of a comprehensive, school‐based intervention program, Creating A Safe School (CASS; The Ophelia Project) designed to reduce relational aggression (RA) and relational victimization (RV). Sixth‐grade students (N = 406) were surveyed before and after the intervention. Program effects were tested using a repeated‐measures design. Results revealed significant reductions in RA and RV among students who reported initially high levels of involvement. Findings also showed that decreasing approval of RA accounted for a significant amount of variance in changes in RA between pre‐ and posttest. These results provide initial evidence of the effectiveness of the CASS intervention model in reducing RA among early adolescents. © 2010 Wiley Periodicals, Inc.  相似文献   

20.
ABSTRACT

Ongoing debates over children's encounters with popular culture are grounded in representational images of what childhood is and what childhood should be. As such, the tendency to overcode and regulate children's behaviors, relationships, and desires are often part of a greater effort to prepare the child to fit fixed and essentialized notions of what she should be as she grows into a person, capable of contributing to a globalized society. These efforts toward molding the child for adulthood disparage the moments that she is already a part of and the most important thing then becomes preparing her to participate in a world that we can neither foresee nor predict. In this paper, I consider the research encounters with an 11-year-old girl, who participated in a university-sponsored weekend art school, where she created seemingly subversive drawings and comics as she engaged with popular culture related to Justin Bieber. Employing Deleuzoguattarian concepts, I describe the ways in which the girl transcended representational images of childhood. In doing so, I reconceptualize childhood itself as affective, emergent, and always in processes of difference.  相似文献   

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