刘勰古典主义思想的跨语际之辨

国内外学者对刘勰古典主义者这一身份标签的界定莫衷一是。为此,将刘勰古典主义者文化身份问题置于海外汉学视域下加以整体观照,通过中西文论的双向阐释,对刘勰古典主义思想中的“文用之辨”“古今之辨”和“奇正之辨”深入剖析,辨驳海外汉学视域中有关“刘勰是不彻底的古典主义者”“刘勰的古典主义是一种文学退化历史观”以及“刘勰对待《楚辞》的态度偏离儒家正统文学观”等观点。在中西文论的互通与互识之中,解构刘勰古典主义者的文化身份,为系统识解刘勰古典主义思想的内在机理、促进中西文论的生成性比较与对话提供借鉴。

对话共鸣产生幽默的认知机制:概念整合+乖讹消解的视角

概念整合理论和幽默的乖讹-消解理论相结合可用来解释对话共鸣实现幽默效果的认知机制和过程:共鸣产生幽默效果的认知操作是概念整合,但与其他现象的概念整合不同,在共鸣的概念整合中,平行、对仗的语言结构形式触发概念整合;源自两个输入空间的成分或/和关系在整合空间存在乖讹,随后,整合空间会基于自身的逻辑机制,产生涌现结构,对乖讹进行消解,因而最终产生幽默的效果。

音乐文本批评——约翰·亚当斯的误读分析

音乐文本批评源于西方文学批评理论中的文本批评,是影响和误读理论在音乐领域运用后产生的一种互文性研究方法。细致梳理现代批评理论发展动向,发掘文本批评的历史定位及其在文学与音乐领域中相应的批评范式;以音乐文本批评为方法论,通过哈罗德·布鲁姆的误读理论,以及凯文·科辛的音乐文本批评路径,阐释美国当代作曲家约翰·亚当斯器乐作品的独特艺术创造力。亚当斯环形链条的写作建立于对历史文本的引用,该写作策略构成对贝多芬和勃拉姆斯的误读。历史文本中的写作要素,又在亚当斯改造简约主义音乐的过程中起到关键性作用,借助传统手段改造后的简约主义音乐具有明确的运动方向性,并具备承载复杂表情的能力,因此构成亚当斯独特的音乐话语。

Humour

1.Little girl: 'Mother, may I have a nickel for the old man who is outside crying?'Mother: 'Yes, dear. But what is the old man crying about?'Little girl: 'Ice cream cooes, ten cents.'2. Kind neighbor(to a little boy eating an apple): 'Look out for the worms, sonny.'Willie: 'When I eat an apple, the worms have to look out for themselves,

从布柳河流域看“鱼梁”的文献误读与实用分类

鱼梁的历史文献丰富。南宋朱熹《诗经集传》解释以笱“承梁之空以取鱼”,混淆了鱼梁和鱼笱各自为器的关系,后世许多文献误将两者视为一体。文章通过古今文献资料与广西壮族自治区布柳河流域的“鱼梁”现状对比分析,将“鱼梁”分成“打鱼鱼梁”和“等鱼鱼梁”两大类,并详细阐述了两者的制作机理和安装技术。并提出“打鱼鱼梁”设计出的漫水自净和势能打鱼功能,成为当地捕鱼文化的技术结晶,可建议申请非物质文化遗产。

“革命文学”论争中的理论“误读”: 再论太阳社对藏原惟人“新写实主义”的引介与运用

在1928年中国左翼文坛爆发的“革命文学”论争中,太阳社率先译介了日本左翼理论家藏原惟人的“新写实主义”论,以此作为“新兴文学”重要的理论支柱。太阳社关注“藏原理论”,既是缘于新兴文学实践过程中自然产生的文艺理论诉求,又存在与创造社“理论竞备”的现实契机。而“新写实主义”在中国左翼文坛的批评实践及其演变轨迹,实际与太阳、创造二社同茅盾有关“革命文学”的论争相伴相生。在茅盾与钱杏邨的对话关系中,正是对于“新写实主义”之无意/有意的误读,部分造成了论争的错位、激化,并实质上影响了这一理论在中国的阐释路径及走向,“钱杏邨理论”与“藏原理论”之差异亦由此呈现。钱杏邨的理论取舍与得失并非孤例,而是折射出早期中国左翼文艺理论实践的普泛性困境。

Jokes and Humour

Doctor:Please open your mouth,madam.Lady:Thank you very much,doctor.Doctor:Why do you thank me?Lady:Because my husband always asked me to shut up.医生:请张开嘴,夫人。女士:谢谢你,医生。医生:你为何要感谢我?女士:因为我的丈夫总是让我闭嘴。

A study of aqueous humour proteins in patients of primary open angle glaucoma

Aims: To investigate the changes in the protein composition of aqueous humour in primary open angle glaucoma patients and non-glaucomatous subjects. Patients and Methods: Case control study was conducted at a university hospital to compare the protein profile of aqueous humour obtained from patients of primary open angle glaucoma with those of non glaucomatous subjects. Protein concentration of the aqueous humour samples collected from both glaucomatous and non-glaucomatous patients at the time of surgery was estimated by the Bradford protein assay method. Sodium dodecylsulfate polyacrylamide gel electrophoresis of the samples was also performed. Results: Geometric mean of protein concentration of the samples was 55.73 mg/dl (range: 31-72) in the test group and 46.46 mg/dl (range: 27-65) in the control group and a statistically significant (p ≤= 0.001) difference in protein concentration of aqueous humour between the two groups was observed. Electrophoretic study revealed differences in the aqueous protein composition of the two groups. The glaucomatous group exhibited protein bands of 10 kDa, 20 kDa, 30 kDa, 50 kDa, 60 kDa, 70 kDa, and 90 kDa while the control subjects demonstrated bands of 6 kDa, 10 kDa, 30 kDa, 70 kDa, 90 kDa. Interestingly, almost all the proteins detected in this study corresponded to the molecular weights of heat shock proteins. Conclusions: Primary open angle glaucoma patients differed in protein compositions and had higher concentration of aqueous humour proteins than non glaucomatous patients.

On Verbal Humour from Semantic and Rhetorical Perspectives in American Sitcom Friends

Verbal humor in the province of semantics and rhetorics was focused on and the excerpts in American sitcom Friends was taken as its research object.The famous classic theory: the semantic script theory,was given a sketch outline accompanying examples to state how SSTH works in analysing the verbal humor.Moreover,the employment of different rhetoric skills which elicit humourous effects in a powerful way were appreciated in detail.

Humour

There’d been a long dry season,and there wasn’t enough hay to keep the cowsfed,so Gunister and one of his friends decided to go into the hay merchandising business. They got a truck and drove to another state,where they bought hay for three dollars a bale.Then they broughtit home and sold it for $2.50 a bale.

Humour

For more than an hour, a little guy sat at a bar staring into his glass. Suddenly a burly truck driver sat down next to him, grabbed the guy’s drink and gulped it down. The poor little fellow burst into tears. 'Oh, come on, pal,' the trucker said. 'I was just joking. Here, I’’ll buy you another.'

The Swine Flu Pandemics in Portugal Through Newspaper Humour

Using semiotic and discourse analysis methodologies to uncover denotative and connotative meanings in journalism production, following Roland Barthes＇s work, our research analyzed newspaper humour published in one Portuguese newspaper about the global build-up of the swine flu （H1N1） scare of 2009-2010. Results demonstrate that humour was much quicker than traditional journalistic templates to assign responsibilities and depict failures in the crisis management system, precociously suggesting that the pandemic could be just another moral panic similar to the bird flu of 2005. Through humour, newspapers stressed the cyclic nature of health risks, reducing the impact of dramatic information on the audience. It is therefore suggested that the sociological analysis of a media outlet in the context of a complex and emotional case such as the 2009-2010 pandemic implies its deconstruction layer by layer in order to obtain a clear picture of the mechanisms of social construction of reality.

Humour in Surrealist Theatre

Surrealist playwrights of the twentieth century use black humour in order to express their discontent towards the society in which they live.Parody of everyday life is a way of reaction against the extensive lifestyle.The actions,the choices and the situations,in which the characters of the surrealist dramas are involved,are comic and grotesque.Surrealist dramas reject the rules of the Western theatre;the lack of plot,the absurd,the misunderstanding,the use of poetic symbols,the parody of bourgeois life,the unexpected reactions and the unreasonable behaviour of the characters are some of the factors that cause laughter and surprise the audience.In this paper we will try to reveal the humour that emerges through the surrealist plays of AndréBreton,Philippe Soupault,Louis Aragon and Roger Vitrac.We will also attempt to highlight the key points through which surrealism in theatre uses black humour in an effort to cover the deep melancholy and pessimistic mood of surrealist dramatists.The questions arising are;in which ways is humour a way of revolution?How can humour include dreams,ingenuity and fantasy?

Humour

A couple took their three-month-old son to the movies withthem. On the way in, the usher (引座员) said they’d have to leaveif the baby cried. 'But we’ll refund (归还) your money' he added. After watching the movie for a half-hour, the husband turned tohis wife. 'Well, what do you think?' he asked.

A Humour

The slgn on the door of the photo laboratory reads:“One-Hour Developing andPrinting(一小时冲印)”.As I handed my roll of film(胶卷)to the woman behind

Humour

The following discussion took place between my hus-band and nine-year-old son: 'It’s not fair, Dad. Mom wants me to make my bed,but I don’t know how.' 'It’s time you learned. Where are your clean sheets?' 'I don’t know.'