网上表情符(之二)

BBS 英文缩写及“脸谱”信件(Message)是 BBS 最重要的资源之一,也是 BBS 能吸引广大非资讯相关人员的原因,她象交笔友一样的神秘,但来得更有效率,交友的圈子也更广泛的多了!大家天南地北地随便聊,在各个信区中都可以找到同好、前辈、专家交换心得,或者也可以听听另一种声音,了解别人的观点。家里有什么“古董”舍不得丢,登个小广告半卖半送,想要增添一些配备.“孔方兄”不答应时,都来二手区瞧瞧有没有便宜又“大碗”的。失恋了,来这里接受抚慰,听听失恋阵线盟友怎么说。作业交不出来,快求救吧。凡此种种不胜枚举,这一切都只有你亲自用了才知道,你还在等什么呢?但也别急过头了,电子信件毕竟和普通信不太一样,她们是由冰冷的电脑字型构成的,无法完全表达写信人的情绪,不象真正的信件,或是面对面的谈话,还可以从对方的笔触或是他的表情体会到他的喜怒哀乐。其次,她毕竟需要通过电话线路来传播,在电话费变成计时后,信件内容就不宜太长了。尤其是网路信,得通过长途电话传遍全国,甚至全世界,于是便发展出一套独特的 BBS 文化!

＂A Walk in Between＂--On Hart Crane＇s Imagination of Representational Space and Representations of Space in The Bridge

In this paper, Henri Lefebvre＇s theorizations about representational space and representations of space will be employed to examine Hart Crane＇s imagination of them in The Bridge. First, according to Lefebvre, representations of space are created with violence for the purpose of accumulating capital. On the other hand, representational space is directly lived or affectively felt, opened up by inhabitants＇ imagination. In addition, Lefebvre points out that in abstract space, representational space will be invaded by representations of space. In The Bridge, Crane＇s affective experience with the Brooklyn Bridge or the subway indicates that he treats New York as a representational space. Besides, Crane expresses his concern for how capitalism has encroached on it. It would seem that Crane has followed Lefebvre＇s line of thinking in The Bridge. However, it is actually a specious analysis because both the Brooklyn Bridge and the subway are representations of space. And in this long poem, Crane feels the urban space through history, which plays a key role in creating representations of space. Thus, we can conclude that Crane is actually taking ＂a walk in between＂ in The Bridge. With his imagination, Crane has combined representations of space and representational space into his own poetic vision.

感情意念的取象结构

取象即意义理据它是意念研究的重要内容之一。取象纵向有表层、深层两面 ,横向可按种属关系分出不同的级 ,复杂的表层取象归结为数量有限的深层取象模型。表达同一感情的异构取象可以换用 ,同时很多取象又可表达几种不同的感情 ,但同构多能性并不取消语言对感情意念的区别性表达。跟外界关系程度越高的生理事物 ,一般越能经常充任表情体。取象的实际指向在心理 ,它常常不滞限于描绘人的客观外部表征 ,而把外在体态转用于内在心灵。