模式的超越与彷徨－中国传统时空观与沈从文的时空选择

沈从文无疑是具有自觉时空意识的文和学术大家了。这种自觉的时空意识使他在无论是入乎其内的文学的情感世界中，或是出乎其外的学术的理性世界中，都显出过人的智性和悟性。他宁静淡泊的人生观，他独立特行的人格型范，他善思爱美的哲人气质，以及地作品空灵浪漫、清新自由的艺术风格都源于其时空意识的烛照。但是，沈从文时空意识的形成，不是偶然或天才生成的，它是沈从文对传统时空观念立足现实而进行选择的结果。那么，什么是传统时空观念？沈从文是怎样选择的？在这选择中，是对旧传统模式的沿用或是超越？这是研究沈从文时空意识需待求解的问题。本文拟就以上问题试作探索。一、时空观念及传统知识分子时空选择的基本模式1。

Assisting Temporal Requirement Specification

The aim of the present work is to introduce a pattern-based method for assisting the user during the temporal Requirement Specification （RS） phase. Indeed, since the user usually has to handle abstract notation as well as mathematical-based languages within this phase, RS is becoming more and more tedious and error-prone especially when dealing with complex systems. The authors＇ method begins by defining a new typology while taking into account all the common temporal requirements one may meet when specifying a system. Then, a literal word-based formal grammar able to express all the types of the identified requirements has been developed. Actually, the goal is to assist the user during the requirement identification with some means that are simple, intuitive, albeit rigorous. Finally, a generic set of observation patterns relative to the new time constraint taxonomy is defined. In practice, to check a given temporal constraint, its relative observation pattern is instantiated to obtain an observer that will stand for a watchdog for the associated requirement on the system.

灵动的时空--论桑顿·怀尔德早期独幕剧对舞台时空自由度的拓展

美国剧作家桑顿·怀尔德一直执着于在戏剧中思考抽象哲理,渴望追求戏剧的普遍意义。其早期独幕剧运用无实物表演、时空的抽象化、舞台监督等手法,突破了传统戏剧时空的规定性,探索了独特的表达形式,寻求到将日常生活戏剧化的独特方法。从他早期独幕剧到其代表作《我们的小镇》,我们可以清晰地看到怀尔德在形式、内容上的坚持和探索;对比这些独幕剧和《我们的小镇》的成就,我们也能更加明确,灵动的形式和场面实体内容上的统一,是剧作获得成功的必要条件。