蒙古族题材电影叙事方式与文化建构研究

蒙古族题材电影在其历史发展过程中形成四种基本的叙事范式:第一,以意识形态和政治需求为导向的国族化叙事;第二,以美丽边疆和日常生活呈现为导向的景观化叙事;第三,以民族认同和草原文化表达为向导的民族化叙事;第四,以聚焦个体和关注现实为导向的个体化叙事。文章基于叙事方式的发展与变化,厘清蒙古族题材电影的演进规律,探寻内在的动因,思考叙事方式与文化建构之间的逻辑关系,进而凸显电影文本对文化建构的理论价值和实践意义。     

去霸权化:海洋命运共同体叙事下新型海权的时代趋势

海洋命运共同体是中国倡导的一种海洋叙事。海洋叙事是塑造海洋秩序与海权及捍卫海洋权益的话语体系。中国的海洋叙事一直较为式微,特别是中国海权在世界海洋叙事体系内常常处于被西方海权"代表"的状态。这严重影响着中国对历史性海洋权益的维护。海洋命运共同体作为人类命运共同体的有机组成部分及其在海洋领域的发展,叙述着一种去霸权化的新型海权与新型海洋秩序,是海权从垄断走向共享、从传统走向新型的分水岭。在海洋命运共同体叙事下,中国海权的发展趋向是有别于传统海权的新型海权,是一种去霸权化的治海权,而非零和式海洋霸权。由于传统海权的惯性以及美国海洋霸权的主导,新型海权及其观念若要形成普适性共识,尚面临诸多挑战,但去霸权化的新型海权必将成为未来海权的时代趋势。     

Arbeit, Strafe und der Freiraum der Subjekte*

Over the last decades labour has changed considerably; now individualization and personal enterprise are beginning to shape its character and meaning. In this way, labour has acquired a kind of narrative, which is shown in examples of online-recruiting by German companies. On the other hand, punishment nowadays does not focus on rehabilitation and is, it may be said, handled without any narrative. A comparison of both developments suggests significant changes in social integration and control.     

Reactions to collective stress: Correlates of active citizen participation at love canal

Abstract

Events at Love Canal, beginning in the spring of 1978, are described as an environmental crisis leading to acute collective stress. As the crisis unfolded, Love Canal residents’ perceptions of the situation, and the actions they took, were monitored through interviews with a sample of 58 families in fall, 1978. Of these, 39 were reinterviewed in spring, 1979. Among interviewed families, 24 (41%) had at least one “activist” member, someone who became personally involved in a community organization formed to help resolve the crisis. This study compares the social characteristics of “activist families” with “non‐activist families,” their Love Canal‐related problems, sources of help, and general views of the impacts on their personal lives, and on interpersonal relations. Activists relied on government and crisis‐related organizations for help, while non‐activists had more family support. Neither group utilized the mental health services provided by the community's “crisis center.” Activists felt better about themselves, and had a stronger feeling of personal efficacy in affecting government decisions. They perceived that the crisis had brought about positive personal changes, and changes in relations with others. The major implication for intervention is that several different approaches to assisting members of a community in crisis must be undertaken.     

叙事伦理张力与审美感知及评价问题——作为方法的张爱玲

叙事伦理是由人类叙事本能产生的复杂而又无处不在的问题.叙事伦理既涉及到审美感受,又涉及到审美评价.由于其复杂且不纯粹的文本现象,以叙事伦理张力来比喻便于使审美感受具象化,同时为审美评价提供一个标准.张爱玲的小说复杂而又特殊,可以将其作为方法,根据叙事性作品的伦理交流结构理论,分析和解读张爱玲的小说,从而探究叙事伦理与审美感知及评价问题.     

Justice as freedom,fairness, compassion,and utilitarianism: How my life experiences shaped my views of justice

This essay lays out my definition of justice and traces the origins of its conception. I identify and discuss very specific life experiences and how they have affected my understanding of justice. Specific incidents include early childhood experiences, key events in adolescence, and the most important episodes from early adulthood. I examine my own family conditions and early relationships and consider the influences of certain television shows and music in childhood and adolescence. I also discuss the effects of various educational experiences. The culmination of these life experiences was the emergence of a very strong sense of justice, reciprocity, and compassion for others, particularly for the least powerful and most vulnerable in our midst. These experiences in essence pushed me into the field of criminal justice and into the worlds of academia and social justice activism. They also allowed me finally to see my mission in life and to understand how all my life experiences have shaped my sense of justice.     

The press and political controversy: The case for narrative analysis

This paper introduces narrative analysis, a method for press criticism that relies on concepts drawn from nondeconstructionist literary criticism, to study questions about the political power of the media. Narrative analysis seeks to specify the range of compositional options available to journalists covering a particular topic and the conventional meanings associated with each option. In the case at hand, the paper identifies choices made by profilers of James A. Baker III, to affiliate their news stories with six genres of American political journalism. The genres are called celebrity, contest, image, passage, investigation, and crusade stories. Classifying news stories by genre shows, in this case, that media portrayals of authority figures are not as uniformly supportive or adversarial as, respectively, left‐liberal and neoconservative theorists of media power have contended.     

History and Political Communication: An Introduction

This essay introduces a series of articles that explore the relation of history to political communication research. It is shown that as a field of study political communication has tended to ignore historical methods and sensibilities. This tendency is traced to the field's roots in social psychology, political science, and early mass communication research. However, although political communication tends to ignore historical research, it often depends upon implicit, unquestioned historical narratives. Thus, a more robust historical imagination is encouraged not only because it may produce more and better historical research, but also because it may assist in the development of tools for reflecting on the way political communication already deploys historical narratives.     

从叙情到感悟：詹澈诗艺的演变

詹澈前期多写叙事性长诗,以台湾本省籍农民、外省籍老兵、原住民为主要刻画对象,呈现一幅各族群民众融洽互爱、共生共存的图景。其于叙事中包含较多抒情成分的“叙情”表达方式具有深厚的中国传统诗学渊源。近期创作则更多转向“感悟”,而“感悟”也正是中国诗学区别于西方的“分析”的最具独创意义的艺术手段。诗人以台湾东海岸奇特的草木鸟兽和山岩海礁为重要描写对象,通过移植生命于物象和时空伸缩,追溯亿万年前的悠渺时代或海升陆沉、板块碰撞等巨大空间运动,表达对大至宇宙天地,小至庶民生活的诸多问题的关注和感悟,特别是对原住民文化和生命情态有着深切感受和把握。詹澈诗作堪称中国新诗发展富有个性的作品。     

茅盾与左翼都市叙事中的欲望表达

作为左翼都市叙事的范本,《子夜》的叙述焦点已不在个体的命运和精神历程,而是转向了有关中国社会的宏大叙事,它对都市生活中欲望的书写方式也相应地产生了一系列变异,非个人的集体成了都市叙述中的欲望主体。茅盾试图将以个人欲望为枢轴的都市叙事与揭示社会发展规律的历史叙事扭合在一起,达到一种综合。然而,在很多情形中,他的努力以失败告终。这两种不同类型的叙事无法重合,即便作者勉强将它们叠合成一体,不谐和的裂缝依旧随处可见。