论唐代受胡文化影响的舞与服

唐代是我国历史上胡汉文化交流并融合影响最广泛的时期。曾在中原地区风行一时　的胡舞和胡服,反映出唐代胡汉文化交融而产生的文化习俗和社会风貌。唐代士大夫喜好诗　乐,寄情歌舞,因此对当时流行的胡乐、胡舞与胡服多有记载,从而使我们看到舞与乐不相　离,舞与服不可分,乐、舞、服各有其独特的审美特征和艺术风格。     

大学英语教学中的文化导入

本文对语言与文化关系 ,在大学英语教学中进行文化导入的必要性 ,教材与文化内容相结合以及适用原则和方法进行了探讨 ,并针对在具体教学中出现的一些词语 ,在文化内涵方面进行了英汉差异对比研究 ,其目的是将文化的导入融入语言教学当中 ,以培养学生的社会文化能力 ,推动大学英语教学的改革     

农耕文化中的"孕育仪式"及其在少数民族中的遗存

“孕育仪式”是农耕文化的一种文化现象,是许多农耕民族都曾存在过的农业祭祀。作为古老的原始宗教祭仪,它寄寓着农业民族的许多观念和信仰,在农耕社会中经历着传承和蜕变的历史演进过程,近代许多少数民族的民俗活动中还有遗存。透过“孕育仪式”的文化表象,我们依稀看到人类在认识和改造客观世界、把握自然规律过程中所走过的一段曲折而漫长的经历。     

教育与文化传承:贵州少数民族教育存在的两个问题

忽视少数民族语言和文化是贵州少数民族教育存在的两个问题。有选择的文化传承成为现代学校教育的重要特征之一,也是阻碍少数民族文化传承的主要根源。贵州文化的多元性与现代学校教育的排他性之间的矛盾关系根源于:文化中心主义、高度集中的教育管理制度、文化商业功利性和少数民族话语权缺失。     

Contesting Ideologies: Deconstructing Racism in African-American Fiction

Baillie's article is concerned with how African-American fiction seeks to define and shape an aesthetic in opposition to racial ideologies as diffused through science, education and popular culture. In an examination of Count Joseph de Gobineau's Essai sur l'inégalité des races humaines (1853-5), it traces the construction of racialized discourse in nineteenth-century America. Baillie examines Toni Morrison's first novel The Bluest Eye (1970) in terms of Morrison's engagement with nineteenth-century racial theory and its implicit presence within ideologies of beauty and American popular culture of the 1930s. Through the figure of Shirley Temple, Morrison shows how the African-American community's internalization of cinematic images of beauty can lead to a psychosis that leaves identity fractured and the racial self all but erased. As well as reading The Bluest Eye as both a critique of scientific racism and as an historical novel in sustained debate with the cultural hegemony of the 1930s, Baillie examines its significance as a text in dialogue with the social and political milieu in which it was written. Here, The Bluest Eye becomes an intervention into the affirmative aesthetic of 1960s Black Power politics and its extreme proclamations of racial pride rooted firmly in black lower-class expression. She discusses the Black Power movement's appropriation of Frantz Fanon's theories and argues that Morrison's own articulation of a black identity eschews the nationalism of Black Power, and instead finds its focus in the political contestation of ideologies through the expression of African-American art forms. The Bluest Eye is an oppositional narrative that draws on western forms and yet privileges African-American vernacular as a counter-balance to language as a vehicle for ideologies of beauty and scientific racism.     

Feminist utopias and questions of liberty: Margaret Atwood's The Handmaid's Tale as critique of second wave feminism

Taking her cue from the recent Cindy Sherman exhibition at Metro Pictures, New York, 'New Photographic Work 2000', Meagher considers the ways in which feminist art critics have analysed Sherman's work since it was first 'discovered' by Douglas Crimp in 1979. Her claim is that analyses of Sherman's work are involved in a debate about whether the images are useful or destructive to feminist politics. More importantly, what has come to be known as Sherman Studies places an emphasis not upon Sherman's art, but rather upon the identify of the artist. Instead of enquiring into the political status of the art works (are they feminist?), critics often end up asking after the political status of the artist herself (is she feminist?). Meagher's essay is in four sections: 'Encounters' traces the critical reaction to Sherman's work; 'In or Out of the Picture' considers the critical tendency to impose a narrative upon the work and the simultaneous insistence that this narrative is informed by the artist's feminist intent; 'New Photographic Work 2000' looks at the most recent reactions to Sherman'swork and prepares for the final section, 'Feminist Occasions', in which Meagher draws upon Nancy Miller and considers the relationship between feminist critics and their resistant celebrity.     

试论构建“东亚共同体”的思想文化基础——从历史启迪与未来追求的视角

创建共同合作、协同发展的“东亚共同体”,业已成为不可抗拒的发展趋势。历史事实证明:东亚地区是世界历史上最早“一体化”的区域;它既有成功的、进步的古代“东亚文化圈”,也有反动的、失败的近代“大东亚共荣圈”,还有设想中的“东亚共同体”。然而,现实中的“历史认识问题”,是直接关系到“东亚共同体”能否迅速建立的前提条件。为促进未来“东亚共同体”区域内的沟通和交流,需要在汉字的基础上创建共通文字,这不是复旧,而是与时俱进的创新。当人们思考构建“东亚共同体”时,在普遍关注经济协作的情况下,尤应重视思想文化观念的问题,因为东亚各国间的政治的、经济的、外交的问题,不能光靠政治的、经济的、外交的手段来解决,而确实需要从思想文化观念方面去寻求解决问题的办法。     

我国公务员激励机制优化的行政生态学研究

国家公务员激励机制优化是激励广大公务员实现共同行政目标的重要保障.但是在我国公务员制度的建立过程中,原有的干部激励机制正日趋失去其强大作用,与此同时却没有及时地建立起新的完善的公务员激励机制,使得公务员的激励难以产生预期的效果.作为公务员制度优化主体在特定行政生态下进行的活动,选择行政生态学作为我国公务员激励机制优化的方法论工具是极具解释力的.     

饭稻羹鱼与粿条肴糅--泰人接触羹食文化的历史分析

泰人在不同历史时期接触并从汉人的饮食文化中引进了羹食文化,泰语中的汉语借词是其体现。传统泰式餐食——味重的kaeng33饭,源于上古到先秦时期中原汉人与南方百越民族的接触,受中原汉民族配菜羹食的影响。泰语 kaeng33是上古的借词,借自汉语“羹”,清淡kaeng33食则源于汉唐以降中原汉族的羹食之糁食法的演变和汤食文化的传播。 kao33lao24借自汉代中原话“肴糅”,kuai24tiao24是宋以后潮汕移民带进暹罗的“粿条”。     

先进文化在社会主义现代化中的功能

现代化建设是社会主义初级阶段的根本任务。现代化是以经济市场化推进传统社会向现代社会转型的过程。在社会变革中,文化发挥着一种“场效应”。先进文化可以使人们认识社会发展方向,焕发出创造潜能,整合各种矛盾。文化建设必须坚持“三个面向”,发扬科学精神,实现传统文化现代化和外来文化民族化。