共查询到20条相似文献，搜索用时 93 毫秒
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罗雪娟:“我还不是奥运会冠军,也没有打破世界纪录,运动员一生追求的这两个目标还没有实现。夺得世界锦标赛的金牌,只是迈出了第一步。” 第一次参加世界游泳锦标赛,就夺得了两个世界冠军的浙江杭州姑娘罗雪娟,虽已奠定了“蛙王”的地位,但她不失冷静:“别人也在努力,我不会放松自己,我要尽最大努力保持第一的水平。” 罗雪娟没有给自己放假。在回家乡杭州的第二天就一头扎进了训练场。她很认真地说:“从领奖台上下来后就不是冠军,一切都要从零开始。” 相似文献
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2009年10月20日,中国第11届全运会柔道比赛中,来自广东的“妈妈级奥运冠军”冼东妹在决赛最后时刻,右膝膑骨突然脱臼移位,她一下子倒在场上,裁判员当即示意暂停比赛。未等队医进场,冼东妹强忍剧痛,自己把脱臼的膑骨推回原位,继续比赛。冼东妹以一个“有效”击败湖南选手何红梅,夺得女子52公斤级金牌。洗东妹的顽强拼搏精神感动了全场观众。这是她第5次参加全运会,也是她在全运赛场拿到的第3个冠军。 相似文献
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桑兰,这是一个美丽而坚强的名字。 桑兰,这是一个直面人生、顽强不屈而赢得人们尊敬的名字。 桑兰,一个地道的宁波姑娘。她在1998年友好运动会上,不幸受伤,她的受伤镜头播出后让观众为之惊讶与惋惜。但是,桑兰凭借着她那坚强的微笑赢得了比世界冠军更多的掌声。桑兰受伤以后,面对广大热心的朋友激动地说:“我不能争体操世界冠军了,但是我可以争生活中的冠军。”不久前,她被北京大学新闻与传播学院录取,入读北京大学新闻学专业。 相似文献
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对于乒乓球运动员来讲,良好的心理素质是成功的关键所在.文章从运动员心理素质的重要性、引起心理障碍的原因及成长为优秀乒乓球运动员必备素质等方面,分析阐述了在乒乓球运动员选材过程中心理素质因素的重要地位. 相似文献
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19世纪中叶,香港被英帝国主义强占,十年前的1997年7月1日她终于回到了强大起来的祖国怀抱。有人这样说,十年前的那一刻,当他听到整个海港的汽笛突然一起拉响的时候. 相似文献
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日前去上海淮海路拜会睽违多年的越剧表演艺术家王文娟,见她的会客室正中挂着电影表演艺术家孙道临的大幅遗像,很自然地想详细了解这对艺坛“金童玉女”恩爱45年的佳话。上世纪60年代初期,这段往事一直成为美谈。1984年8月,我曾负责在杭州举办“徐玉兰王文娟师徒同台献艺”活动,轰动一时。尽管接触频繁,但因排练和演出繁忙, 相似文献
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她这么优雅地在我面前一坐,言谈举止亲切随意,落落大方,仿佛是老友聚会似的。黑色缎面的中式上装,而袖口所镶的金黄红蓝四色大花宽边和紫色的指甲、硕大的紫晶戒子,张扬着她作为舞者的风韵气质。眉宇间的秀爽之气,顾盼有情的眼神,敏锐犀利的言词,直言无讳的观点……我面前的她,是真实、亲切的,甚至是唯美的、诗意的。这是此次我在沪上与她面对面访谈时的感觉。 相似文献
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Rasmus Sandnes Haukedal 《Culture, Theory & Critique》2020,61(1):22-36
ABSTRACT In this article, I examine Catherine Malabou’s concept of trauma, and argue that her replacement of the Freudian unconscious with the cerebral unconscious might fit adequately into a different framework from the one she proposes. Comparing her view of pathology to that of Georges Canguilhem, I propose a dimensional reading of pathology. Building on this – and by reference to metaplasticity – I ask whether one can explain the mechanisation characteristic of the new wounded mechanistically. I then look at her exchange with Slavoj ?i?ek to get at Malabou’s understanding of psychoanalysis. She seeks to realign Freud and neuroscience to resolve issues with both. As part of this shift, she introduces the term ‘the Material’ – linked to the cerebral unconscious – as an alternative to the Lacanian triad of Real, Symbolic, and Imaginary. She does, however, leave it underdeveloped, and I argue that this points to tensions in her theory. While her concept of plasticity runs against ideas of an isolated transcendental subject exempt from the outside, Malabou seems to literalise (or ‘corporealise’) trauma. If this is correct, then how radical is her concept of trauma, and are there ways of describing trauma that are equally compatible with her concept of plasticity? 相似文献
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Simone Bignall 《Culture, Theory & Critique》2013,54(1):121-138
The film Black Swan, directed by Darren Aronofsky, provides a fruitful context for thinking about Deleuze's conceptualisation of structural transformation as a ‘presubjective’ process involving a critical and creative politics of engagement. Nina is a young dancer who has just secured the lead role in the New York Ballet's new production of Swan Lake. This role not only requires her to dance the pure and innocent character of the White Swan – a role that mirrors Nina's character in real life, and for which she is well suited – but also as the seductive and darkly erotic character of the Black Swan, a role quite alien to Nina. The film traces Nina's desperate efforts to meet the demands of this doubled characterisation. Through new forms of engagement with her peers, she enters into a ‘becoming-swan’ that frees her from the restraints and constraints imposed by her existing self. While this transformative process enables her to realise aesthetic perfection in her art, this comes at a heavy price: Nina not only is creatively destabilised, but ultimately is destroyed by the transformation she endures. By considering this work of cinema in light of Deleuze's writings on cinema, on ‘becoming-animal’, and on ‘Porcelain and Volcano’, this essay reflects upon a crucial question underlying much of Deleuze's political thought: how is it possible to privilege radical subjective and social transformation, without these structures of necessary coherence also ‘cracking up’ and being destroyed in the process? 相似文献
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2013年4月6日,浙江昆剧团在杭州举行考试,面向全国招收"第六代"传人。成立于1955年的浙江昆剧团,在原民间"国风苏昆剧团"基础上组建,曾出现过"传、世、盛、秀、万"五代同堂的兴盛时期。目前,声名卓著的"传"字辈老师已相继离开了舞台,"世、盛、秀"三辈担当起重任。本文介绍的沈世华就是当年浙昆"世"字辈演员、如今是在京授业传艺的昆曲代表性传承人。 相似文献