Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did...Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did not want the horse to be too tired. They met two neighbours (邻居)on their way.The neighbours said, "Hello,why are展开更多
This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patr...This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patriarchal culture and a patricide allegory of the Father and Son structure of power in palace intrigues.Furthermore,it is a history of the acts that the Son takes to get the Father’s woman,absolve the tyrannical Father’s threat of castration and attain the supreme power.To suit the motif of palace intrigues,Zhang adopts quasi-back-and-white palette to create stunning visuals like traditional Chinese ink paintings.He also constructs a web-narrative of dualities around the yin-yang paradigm,the taichi diagram in particular.The film’s central gender relationship is a triangular one,in which Woman is positioned between the Father/the master and the Son/his“shadow”.Woman is marginalized in the film.She is not represented as the central subject,but as the object of sacrifice who functions to satisfy male desire and construct male subjectivity and sexuality.Moreover,the film explores how toxic and violent Chinese masculinity can become when it deviates from wen-wu prowess.Thus,Shadow becomes a violent movie that intensifies the viewer’s experience of violence as the Son/the“shadow”must be absolutely brutal and ruthless in order to slay the Father/the master and create new order.展开更多
Although the figure of the father has progressively gained a </span><span style="font-family:Verdana;">place in birth</span><span style="font-family:Verdana;">, it is still ...Although the figure of the father has progressively gained a </span><span style="font-family:Verdana;">place in birth</span><span style="font-family:Verdana;">, it is still displaced and in the mere role of a companion. Objective: To understand the experience of fathers who have prepared to get actively involved in birth and to undergo the experience of early physical contact with their newborns. Method: A qualitative Action-Research (AR) design was carried out, which considered the antenatal educational intervention of 12 fathers together with their pregnant partners. After delivery, individual interviews were conducted </span><span style="font-family:Verdana;">in depth</span><span style="font-family:Verdana;"> to collect the paternal experience at birth. Results: The central emerging theme developed during AR was “</span><i><span style="font-family:Verdana;">Paternal role and early bonding with the child</span></i><span style="font-family:Verdana;">”, whereas the experience was comprehended in two central themes related to the meaning of the father-child encounter-contact: “</span><i><span style="font-family:Verdana;">The impact of the face-to-face encounter with the child</span></i><span style="font-family:Verdana;">”;“</span><i><span style="font-family:Verdana;">The first physical contact with the child</span></i><span style="font-family:Verdana;">,</span><i><span style="font-family:Verdana;"> a key moment</span></i><span style="font-family:Verdana;">”. Conclusion: The fathers who were prepared and involved from pregnancy and at birth attribute a special meaning to the father-child relationship which generated since the first encounter, allowing them to feel, enjoy and commit to </span><span style="font-family:Verdana;">care</span><span style="font-family:Verdana;">.展开更多
The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello...The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello’s phrase,“la gioventùsacrificata potrebbe dare un crollo a questa oltracotante oppressione dei vecchi e prendersi finalmente uno sfogo e affermarsi vittoriosa”and applying Freudian principles,this work seeks primarily to highlight the autobiographical element that is expressed in the father/son,Luigi/Stefano,and Lando Laurentano/Stefano Landi relationships.展开更多
The Swing, written by Mary Gavell, relates the pain of an aging mother, who is comforted by her childhood son's returning to the family swing at night. The story is mixed with magic and reality, filled with magic ...The Swing, written by Mary Gavell, relates the pain of an aging mother, who is comforted by her childhood son's returning to the family swing at night. The story is mixed with magic and reality, filled with magic symbols and implied with magical feminism themes. By employing magical realism, Mary Gavell portrays the loneliness of an elder woman and creates for her a magical world where she could freely express herself.展开更多
目的用血缘一致性(identity by descent,IBD)型式计算乱伦案件的似然比。方法先用相同的数字表示家系成员中IBD的等位基因以组成IBD型式,然后用先验概率乘以非IBD等位基因频率得出各个IBD型式概率。将家系的所有IBD型式概率相加即可得...目的用血缘一致性(identity by descent,IBD)型式计算乱伦案件的似然比。方法先用相同的数字表示家系成员中IBD的等位基因以组成IBD型式,然后用先验概率乘以非IBD等位基因频率得出各个IBD型式概率。将家系的所有IBD型式概率相加即可得到乱伦案不同假设下的家系概率,比较不同家系概率计算似然比。结果获得了父女乱伦和全同胞乱伦案的IBD型式及这两种案例的似然比计算公式。结论阐明了基于IBD型式计算乱伦案似然比的方法。展开更多
以Web of Science和谷歌学术数据库中关于父亲参与幼儿家庭教育的相关文献为研究对象,运用文本分析法总结近30年来国外关于父亲参与幼儿家庭教育的研究的主要内容。梳理文献发现,相关研究涉及四个板块,即父亲参与幼儿家庭教育的内容研...以Web of Science和谷歌学术数据库中关于父亲参与幼儿家庭教育的相关文献为研究对象,运用文本分析法总结近30年来国外关于父亲参与幼儿家庭教育的研究的主要内容。梳理文献发现,相关研究涉及四个板块,即父亲参与幼儿家庭教育的内容研究、价值研究、影响因素研究及策略研究。由文献分析可知,国外父亲参与幼儿家庭教育在实践中既获得成效但也存在问题:政策制度使得更多父亲在更多方面参与幼儿家庭教育,这也使得父亲在幼儿家庭教育中的重要性显现出来,在一定程度上推动了男女平等;但在同时,父亲参与幼儿家庭教育的数量和质量仍旧不如人意,并且父亲参与存在阶层不平等现象。国外父亲参与幼儿家庭教育的优秀经验和做法,为国内父亲科学地参与幼儿家庭教育提供了几点启示:牢固树立儿童本位理念;厘清父亲的角色定位;家庭成员协作共促父亲参与;更迭社会文化观念;构建家庭—学校—社区教育实践共同体;立法规定并保障父亲的参与责任与权利;数量与质量并进共促父亲参与。展开更多
文摘Once there lived a very old peasant in a village. His name was Jack.He had a horse.It was almost as old as him. One day he set off with his young son to sell the horse before it died.They walked because the father did not want the horse to be too tired. They met two neighbours (邻居)on their way.The neighbours said, "Hello,why are
文摘This paper examines the filming practice of Zhang Yimou’s Shadow(2018)in the context of Chinese culture and from the perspectives of contemporary gender theories.It argues that Shadow constructs a male-dominated patriarchal culture and a patricide allegory of the Father and Son structure of power in palace intrigues.Furthermore,it is a history of the acts that the Son takes to get the Father’s woman,absolve the tyrannical Father’s threat of castration and attain the supreme power.To suit the motif of palace intrigues,Zhang adopts quasi-back-and-white palette to create stunning visuals like traditional Chinese ink paintings.He also constructs a web-narrative of dualities around the yin-yang paradigm,the taichi diagram in particular.The film’s central gender relationship is a triangular one,in which Woman is positioned between the Father/the master and the Son/his“shadow”.Woman is marginalized in the film.She is not represented as the central subject,but as the object of sacrifice who functions to satisfy male desire and construct male subjectivity and sexuality.Moreover,the film explores how toxic and violent Chinese masculinity can become when it deviates from wen-wu prowess.Thus,Shadow becomes a violent movie that intensifies the viewer’s experience of violence as the Son/the“shadow”must be absolutely brutal and ruthless in order to slay the Father/the master and create new order.
文摘Although the figure of the father has progressively gained a </span><span style="font-family:Verdana;">place in birth</span><span style="font-family:Verdana;">, it is still displaced and in the mere role of a companion. Objective: To understand the experience of fathers who have prepared to get actively involved in birth and to undergo the experience of early physical contact with their newborns. Method: A qualitative Action-Research (AR) design was carried out, which considered the antenatal educational intervention of 12 fathers together with their pregnant partners. After delivery, individual interviews were conducted </span><span style="font-family:Verdana;">in depth</span><span style="font-family:Verdana;"> to collect the paternal experience at birth. Results: The central emerging theme developed during AR was “</span><i><span style="font-family:Verdana;">Paternal role and early bonding with the child</span></i><span style="font-family:Verdana;">”, whereas the experience was comprehended in two central themes related to the meaning of the father-child encounter-contact: “</span><i><span style="font-family:Verdana;">The impact of the face-to-face encounter with the child</span></i><span style="font-family:Verdana;">”;“</span><i><span style="font-family:Verdana;">The first physical contact with the child</span></i><span style="font-family:Verdana;">,</span><i><span style="font-family:Verdana;"> a key moment</span></i><span style="font-family:Verdana;">”. Conclusion: The fathers who were prepared and involved from pregnancy and at birth attribute a special meaning to the father-child relationship which generated since the first encounter, allowing them to feel, enjoy and commit to </span><span style="font-family:Verdana;">care</span><span style="font-family:Verdana;">.
文摘The novel I vecchi e i giovani has been the object of numerous critical interpretations,including those of Leonardo Sciascia,Gaetano Trombatore,and Massimo Onofri,in particular.Taking as its starting point Pirandello’s phrase,“la gioventùsacrificata potrebbe dare un crollo a questa oltracotante oppressione dei vecchi e prendersi finalmente uno sfogo e affermarsi vittoriosa”and applying Freudian principles,this work seeks primarily to highlight the autobiographical element that is expressed in the father/son,Luigi/Stefano,and Lando Laurentano/Stefano Landi relationships.
文摘The Swing, written by Mary Gavell, relates the pain of an aging mother, who is comforted by her childhood son's returning to the family swing at night. The story is mixed with magic and reality, filled with magic symbols and implied with magical feminism themes. By employing magical realism, Mary Gavell portrays the loneliness of an elder woman and creates for her a magical world where she could freely express herself.
文摘目的用血缘一致性(identity by descent,IBD)型式计算乱伦案件的似然比。方法先用相同的数字表示家系成员中IBD的等位基因以组成IBD型式,然后用先验概率乘以非IBD等位基因频率得出各个IBD型式概率。将家系的所有IBD型式概率相加即可得到乱伦案不同假设下的家系概率,比较不同家系概率计算似然比。结果获得了父女乱伦和全同胞乱伦案的IBD型式及这两种案例的似然比计算公式。结论阐明了基于IBD型式计算乱伦案似然比的方法。
文摘以Web of Science和谷歌学术数据库中关于父亲参与幼儿家庭教育的相关文献为研究对象,运用文本分析法总结近30年来国外关于父亲参与幼儿家庭教育的研究的主要内容。梳理文献发现,相关研究涉及四个板块,即父亲参与幼儿家庭教育的内容研究、价值研究、影响因素研究及策略研究。由文献分析可知,国外父亲参与幼儿家庭教育在实践中既获得成效但也存在问题:政策制度使得更多父亲在更多方面参与幼儿家庭教育,这也使得父亲在幼儿家庭教育中的重要性显现出来,在一定程度上推动了男女平等;但在同时,父亲参与幼儿家庭教育的数量和质量仍旧不如人意,并且父亲参与存在阶层不平等现象。国外父亲参与幼儿家庭教育的优秀经验和做法,为国内父亲科学地参与幼儿家庭教育提供了几点启示:牢固树立儿童本位理念;厘清父亲的角色定位;家庭成员协作共促父亲参与;更迭社会文化观念;构建家庭—学校—社区教育实践共同体;立法规定并保障父亲的参与责任与权利;数量与质量并进共促父亲参与。