论文通过分析美国儿童文学女作家科尼斯伯格(E. L. Konigsburg)颇具个性化与思想深度的写作,来对其一直坚持的"儿童文学如何帮助孩子成长"这一文学命题获得一些规律性的认知,进而从艺术精神及文学思维等层面启迪中国原创儿童...论文通过分析美国儿童文学女作家科尼斯伯格(E. L. Konigsburg)颇具个性化与思想深度的写作,来对其一直坚持的"儿童文学如何帮助孩子成长"这一文学命题获得一些规律性的认知,进而从艺术精神及文学思维等层面启迪中国原创儿童文学的发展。展开更多
近年来,对二语习得的研究成了语言学研究,特别是应用语言学研究的一个热点。英国语言学家科德(S. P. Corder)和美国语言学家塞林克(L.Selinker)分别以其偏误分析理论以及过渡语理论为该研究领域的发展做出了重要贡献。其理论的创新之处...近年来,对二语习得的研究成了语言学研究,特别是应用语言学研究的一个热点。英国语言学家科德(S. P. Corder)和美国语言学家塞林克(L.Selinker)分别以其偏误分析理论以及过渡语理论为该研究领域的发展做出了重要贡献。其理论的创新之处主要在于对偏误的看法的革命性转变:从消极的到正常的、重要的,从无用的、该被根除的到有用的、该被研究和重视的,从学习者懒惰缺乏积极性的证明到学习者积极构建对目标语规则假设的证明,等等。而过渡语理论,更是跳出了把研究重点仅仅聚焦于偏误上的局限,而把学习者语言作为一个整体来研究。展开更多
This article seeks to evaluate the current theorization of early Chinese cinema by forging a multilayered dialogue—dialogue among the group working on vernacular modernism in Chinese cinema,between this group and ear...This article seeks to evaluate the current theorization of early Chinese cinema by forging a multilayered dialogue—dialogue among the group working on vernacular modernism in Chinese cinema,between this group and early cinema theory in general,between early cinema theory and new cultural history in Western humanistic disciplines,and between film and literature in cultural history of modern China. To facilitate such a dialogue,I organize conceptual and methodological issues under three headings—collective sensorium,vernacular modernism,and new cultural history. While I closely engage the works of Miriam Hansen and Zhang Zhen,I also bring in Leo Lee’s and Bao Weihong’s methodologies and reference the newest development in a media archaeology of film history and theory.展开更多
文摘近年来,对二语习得的研究成了语言学研究,特别是应用语言学研究的一个热点。英国语言学家科德(S. P. Corder)和美国语言学家塞林克(L.Selinker)分别以其偏误分析理论以及过渡语理论为该研究领域的发展做出了重要贡献。其理论的创新之处主要在于对偏误的看法的革命性转变:从消极的到正常的、重要的,从无用的、该被根除的到有用的、该被研究和重视的,从学习者懒惰缺乏积极性的证明到学习者积极构建对目标语规则假设的证明,等等。而过渡语理论,更是跳出了把研究重点仅仅聚焦于偏误上的局限,而把学习者语言作为一个整体来研究。
文摘This article seeks to evaluate the current theorization of early Chinese cinema by forging a multilayered dialogue—dialogue among the group working on vernacular modernism in Chinese cinema,between this group and early cinema theory in general,between early cinema theory and new cultural history in Western humanistic disciplines,and between film and literature in cultural history of modern China. To facilitate such a dialogue,I organize conceptual and methodological issues under three headings—collective sensorium,vernacular modernism,and new cultural history. While I closely engage the works of Miriam Hansen and Zhang Zhen,I also bring in Leo Lee’s and Bao Weihong’s methodologies and reference the newest development in a media archaeology of film history and theory.
