“后主权”理念在苏格兰独立运动中的确立

当代苏格兰独立运动,并没有沿着谋求建立主权民族国家的方向发展,而是强调在欧洲一体化的框架内实现自己的独立,建立一种“后主权”性质的国家。“后主权”意味着主权是可以分享和分割的,苏格兰民族党在1988年正式确立了“在欧洲独立”(Independence in Europe)这种“后主权”理念,并一以贯之。究其原因,在于欧洲一体化能够给苏格兰的独立提供领土、经济、安全保证和广阔的政治平台,而苏格兰自身的“后主权”传统与欧洲认同,也让苏格兰人更容易接受“在欧洲独立”。

Subversive Abjection and Sublimity in Jeanette Winterson＇s Representation of the Fantastic A Study of The Passion and Sexing the Cherry

Looking at the last decades of the 19th and 20th century from our vantage point encourages parallels to be drawn between the two periods： in fact, both are affected by a process of cultural fragmentation, social, and epistemological transformations and crises that permeate the whole civil society. In the specific field of English literature, the genre of the fantastic is undoubtedly a common presence. In Fantasy： The Literature of Subversion, Jackson （1981） noted the re-emergence of the fantastic as a transgressive force at moments of cultural stress and repression. Waugh （1995） held a similar view in The Harvest of the Sixties. At the end of the 20th century, in its postmodernist shape, fantastic literature becomes one of the favourite genres of a number of feminist writers, and among them, Jeanette Winterson transforms it into a truly transgressive genre. This paper examines Winterson＇s The Passion （1996） and Sexing the Cherry （1990） in the light of Jackson＇s theory of the fantastic, as a narrative that establishes an oppositional dialogic relationship with the ＂real＂, to interrogate it and collapse the traditional distinction between the normative and the ＂other＂. In The Passion, the real is signified by the dominant ideological discourse, exemplified by Napoleon; the fantastic by Villanelle＇s webbed feet and her ability to walk on water. In Sexing the Cherry, the real is represented by the Puritans with their bigoted and hypocritical morality; the fantastic by the huge Dog-Woman and her foundling son, Jordan. Besides, in both novels, the female body is metamorphosed to challenge the view of a ＂normal＂, acceptable femininity; what emerges is a monstrous and sublime body that collapses distinctions between gender boundaries. In Sexing the Cherry （1990）, Winterson created the grotesque, gigantic body of the Dog-Woman, a figure of Kristevan ＂abjection＂. In The Passion （1996）, she gave life to the hybrid body of Villanelle, an oxymoronic combination of the terrible beautiful. The conclusion of the paper argues that Winterson deploys the fantastic to deconstruct the gendered subject of the dominant signifying order and create a dislocated world outside commercial culture, where new voices can be heard, speaking for unheard, neglected groups, particularly women.

A Comparative Study of the Management Mode of Sino- American Institutions of Higher Learning from the Perspective of the Party-Administrative Power Separation and Operation Mechanism

In this paper, we research on the higher education management mode of China and America based on the perspective of operation mechanism, separation of school and the government. As the thought of higher education management theory or a form, we jump out of the labyrinth of modernism manages view and the introduction of totally different from the modernist paradigm, from the angle of the theory research of postmodernism manages view. The paper is organized as the follows. In the first section, we generally introduce the basic concepts of higher education management and the relationship of the schools and government. Then, by comparing the pattern of the Chinese and the American, we analyze the difference in detail. Finally, we set up the prospect and the conclusion. In conclusion, our method combines the advantages of the American higher education management model which will be meaningful.

A Post-Colonial Study of American Animated Films

As a visual art, film has already been one of the main forms to exhibit culture in modem society. This paper tries to explore American animated films, one of the most successful and tipical styles of American films, from the view of post-colonialism so as to receal American animated films make every effort to set up the image of the Other and to propagate American culture and value. It is American cultural hegemony.