Yongquan (KI 1) is a jing (well) point of the Kidney Meridian of Foot-Shaoyin. As this point is widely used for treatment of acute or chronic diseases, it has drawn attentions from physicians both in the ancient and i...Yongquan (KI 1) is a jing (well) point of the Kidney Meridian of Foot-Shaoyin. As this point is widely used for treatment of acute or chronic diseases, it has drawn attentions from physicians both in the ancient and in the present times. If this point is taken accurately and the differentiation of disease is made properly, both the needling and the external drug application can achieve satisfactory therapeutic results.展开更多
Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions sh...Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions she poses about African American realities in the contemporary United States. In doing so, Morrison often creates alternative histories or, more specifically, a usable past----one that allows her to engage in a literary （re-）construction of the Black historical and cultural material which traditional histories have chosen to ignore or disremember. Therefore, as a present-day writer of African American descent, Morrison attempts to reassemble all the fragmentary historical and cultural accounts available to her as a novelist and narrate them in the form of a convincing story. With regard to the above considerations, this article seeks to discuss some of the mechanisms employed by Morrison for weaving her postmodern, memory-filled narrative on the example of her eighth novel, Love （2003）. In particular, the analysis focuses on the book＇s central figure, Bill Cosey, and his Southern ocean-side resort--both seen against the backdrop of the pre- and post-World War II racist America, followed by the 1960s decade of the Civil Rights Movement. Finally, it is also demonstrated how the author＇s use of split narrative as well as the ＂I＂ narrator-cum-character technique contribute to recounting in retrospect Love＇s main, historicized story---one viewed and judged from a present-time perspective.展开更多
This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre,...This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre, the Bloomsbury short story has a claim to be an important aspect of the twentieth-century accounts of the short story form. Attention to Virginia and Leonard Woolf, Katherine Mansfield, Vita Sackville- West, E.M. Forster and others, such as Arnold Bennett and D.H. Lawrence, indicates their widespread engagement with the genre and the ways in which they treated it from fragmented conversation, as in Woolf s ＂The String Quartet,＂ to Foster＇s employment of linear narrative detail in ＂The Road from Colonus.＂ Formal experiments with syntax, imagery, and vocabulary and prose rhythm exhibit the seriousness of the short story for Bloomsbury authors. The influence of the Russians is particularly important with Che- kov dominating the reading and writing of Woolf, Mansfield, Lawrence and others. The very form of publication--mostly journals and magazines--is also crucial in shaping the length and structure of the short story. Attention to experimentation, as well as renewal, of the genre balances the impact of the short story on writers today and the question of a successor to the efforts and achievements of Bloomsbury＇s authors. A reading of the short stories of Julian Barnes explores this possibility.展开更多
文摘Yongquan (KI 1) is a jing (well) point of the Kidney Meridian of Foot-Shaoyin. As this point is widely used for treatment of acute or chronic diseases, it has drawn attentions from physicians both in the ancient and in the present times. If this point is taken accurately and the differentiation of disease is made properly, both the needling and the external drug application can achieve satisfactory therapeutic results.
文摘Toni Morrison＇s fiction may arguably be characterized as postmodern discourse on memory, history and culture. In her novels, the Nobel laureate frequently returns to the past to search for answers to the questions she poses about African American realities in the contemporary United States. In doing so, Morrison often creates alternative histories or, more specifically, a usable past----one that allows her to engage in a literary （re-）construction of the Black historical and cultural material which traditional histories have chosen to ignore or disremember. Therefore, as a present-day writer of African American descent, Morrison attempts to reassemble all the fragmentary historical and cultural accounts available to her as a novelist and narrate them in the form of a convincing story. With regard to the above considerations, this article seeks to discuss some of the mechanisms employed by Morrison for weaving her postmodern, memory-filled narrative on the example of her eighth novel, Love （2003）. In particular, the analysis focuses on the book＇s central figure, Bill Cosey, and his Southern ocean-side resort--both seen against the backdrop of the pre- and post-World War II racist America, followed by the 1960s decade of the Civil Rights Movement. Finally, it is also demonstrated how the author＇s use of split narrative as well as the ＂I＂ narrator-cum-character technique contribute to recounting in retrospect Love＇s main, historicized story---one viewed and judged from a present-time perspective.
文摘This article examines the importance of the short story form for the Bloomsbury writers and how their aesthetic theories influenced its composition, structure and content. Often overlooked in the history of the genre, the Bloomsbury short story has a claim to be an important aspect of the twentieth-century accounts of the short story form. Attention to Virginia and Leonard Woolf, Katherine Mansfield, Vita Sackville- West, E.M. Forster and others, such as Arnold Bennett and D.H. Lawrence, indicates their widespread engagement with the genre and the ways in which they treated it from fragmented conversation, as in Woolf s ＂The String Quartet,＂ to Foster＇s employment of linear narrative detail in ＂The Road from Colonus.＂ Formal experiments with syntax, imagery, and vocabulary and prose rhythm exhibit the seriousness of the short story for Bloomsbury authors. The influence of the Russians is particularly important with Che- kov dominating the reading and writing of Woolf, Mansfield, Lawrence and others. The very form of publication--mostly journals and magazines--is also crucial in shaping the length and structure of the short story. Attention to experimentation, as well as renewal, of the genre balances the impact of the short story on writers today and the question of a successor to the efforts and achievements of Bloomsbury＇s authors. A reading of the short stories of Julian Barnes explores this possibility.
