80年代乡土小说:"文化寻根"中的自我放逐与救赎     

任美衡 《贵州教育学院学报》2001,17(5):33-36

在 8 0年代的文坛上 ,各种文学样式纷纷开始了“文化寻根” ,就深度与广度而言 ,乡土小说无疑占着最突出的优势 ,在某种程度上还代表了新时期文学在这个阶段的总体走向  相似文献   

寻根文学文化主题形态的嬗变     

贺诗泽 《阿坝师范高等专科学校学报》2001,(1):40-44

从寻根文学的理论与实践出发 ,对寻根文学的文化主题形态加以描述。认为寻根文学作家虽然有着大致相同的追求 ,但由于作家对民族文化的不同价值取向 ,决定了他们寻根文学的不同方向 ,从而决定了寻根文化主题形态的嬗变和演进。  相似文献   

论张天翼短篇小说的艺术特色     

袁瑾 《青海师专学报》2002,22(3):60-62

张天翼的短篇小说在语言运用、谋篇布局、人物刻画、环境描写等方面所显露出的幽默、冷峻、新鲜的艺术特色，为30年代中国文坛的百花园增添了亮丽的风景。  相似文献   

网络语言遮蔽与去蔽     

胡业生 《哈尔滨学院学报》2011,32(10):23-25

文章通过网络语言、价值观概念历史、逻辑界定比较,挖掘个体、社会、文化三个纬度价值观研究现状分析,比较价值观研究发现：价值观本体论研究出现退隐;方法论视角呈现多径路非逻辑性融合;价值论层面出现依附性论域扩张,价值的偶适性、适当性与文化多元性自洽。  相似文献   

论报纸副刊连载体式与张恨水小说章回体选择的关系     

方维保 《池州师专学报》2011,(1):5-9

张恨水在报纸副刊上连载小说,采用章回体形式,既是选择了一种文体形式,同时也是选择了一种与报纸周期性相一致的分载形式,更是选择了一种古老而实用的营销策略。张恨水采用章回体在报纸上连载,凭借他的艺术才情成功地避免了报纸连载小说和章回体小说与生俱来的弊端,获得了极大的成功。  相似文献   

苦吟知有恨,细写却无题——元初杜仁杰对诗歌的继承与创新     

李献芳 《山东教育学院学报》2011,26(1):99-103

杜仁杰是金末元初山东文坛的领袖,他在诗、文、曲诸方面的创作实绩既有对＂以诚为本＂的唐宋诗风的实践,又有对通俗诗风的尝试,体现着元初东平地区诗风的变化,甚至促成了元初诗坛新风尚的形成。  相似文献   

“襄阳会”故事的演化与《三国志通俗演义》的艺术超越     

钟林斌 《南京师范大学文学院学报》2011,(1):66-73

本文在揭示＂襄阳会＂故事的史实依据,梳理故事传承积累的过程之后,对元杂剧、元平话作品中的＂襄阳会＂故事作了比较分析,进而论证《三国志通俗演义》对这一传统故事的继承与超越,说明这部长篇小说虽然是＂世代累积型＂的,但它的写定者罗贯中的艺术创新之功值得重视。  相似文献   

说“给力”     

杨振华 《宜宾学院学报》2011,(10):73-76

流行语"给力"在网络、杂志和报刊中有很高的使用频率。"给力"有动词和形容词两种词性,其意义是"有帮助"、"有作用"、"酷"、"够劲"、"大力支持"等,特定人群的语言使用心理、价值观念和文化心态及媒介的推动促使它广泛流传。  相似文献   

构建广州市科普基地认定和评估指标体系研究     

朱星谕  赵宏  周国基  莫志伟 《科技管理研究》2020,40(7):75-81

通过对科普基地相关运营管理理论展开理论研究,对国内外科普基地管理的典型案例进行案例研究,总结科普基地运营管理的一般规律,在现行广州市科普基地认定、评估指标体系的基础上,对其进行设计、修改和完善。同时通过专家访谈并借鉴理论和实践经验,采用层次分析法对该指标体系进行权重赋值,构建广州市科普基地认定和评估指标体系,为提升广州科普基地运营管理能力提供有效依据。  相似文献   

Conceptualizing an East Asian popular culture     

Chua Beng Huat 《Inter-Asia Cultural Studies》2013,14(2):200-221

Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.  相似文献